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MUSEUM  OF  FINE  ARTS,   BOSTON 


CATALOGUE    OF 

JAPANESE   POTTERY 


BY 


EDWARD  S.   MORSE 


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ARRANGEMENT   OF   CASES 


MUSEUM  OF  FINE  ARTS,  BOSTON 

1/ 

CATALOGUE 

OF  THE 

MORSE  COLLECTION 

OF 

JAPANESE    POTTERY 

BY 

EDWARD  S.  MORSE 

Keeper  of  the  Japanese  Pottery 

WITH    SIXTY-EIGHT   PHOTOGRAVURE   PLATES,   OF  WHICH 

FORTY  ARE  ACCOMPANIED  BY  GUIDE  PLATES  DRAWN 

BY  THE  AUTHOR,  AND  FIFTEEN  HUNDRED 

AND   FORTY-FIVE   POTTERS' 

MARKS   IN   TEXT 


CAMBRIDGE 

MDCCCCI 


OF  THE  ^ 

UNlVERSnY    I) 


£^UfOBH\f'^ 


COPYRIGHT,    1900,   BY   MUSEUM   OF   FINE   ARTS,   BOSTON,   MASS. 
ALL   RIGHTS    RESERVED 


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PREFACE 

The  collection  of  Japanese  pottery  herein  briefly  catalogued  has  been 
brought  together  by  one  collector,  who  throughout  the  task  (which  is  by 
no  means  ended)  has  had  in  view  certain  definite  objects.  One  of  these 
objects,  and  the  main  one,  has  been  to  make  a  collection  of  the  pottery  of 
Japan  which  should  parallel  the  famous  collections  of  the  potteries  of  Eng- 
land, Holland,  France,  and  adjacent  countries,  as  seen  in  the  museums  of 
Europe. 

In  the  great  museums  of  art  in  Paris,  Berlin,  and  other  places,  one  may 
find  the  pottery  of  the  various  countries  of  Europe  fully  represented. 
These  collections  often  represent  the  ovens  and  signatures  known  from 
the  earliest  time  to  the  latest.  Turning  to  Japan,  the  greatest  pottery-pro- 
ducing country  in  the  world,  one  often  finds  in  a  case  labeled  "  Oriental 
Porcelain  "  a  small  collection  of  miscellaneous  pieces,  with  highly  deco- 
rated specimens  made  for  the  foreign  market  predominating,  and  these  not 
unusually  mingled  with  the  fictile  products  of  China.  In  France,  for  exam- 
ple, one  may  find  in  her  great  museums  extensive  collections  of  English 
pottery  from  Chelsea,  Leeds,  Staffordshire,  Burslam,  and  other  pottery 
centres,  including,  of  course,  representations  of  all  the  great  potters  such 
as  Astbury,  Elers,  and  Wedgwood,  as  well  as  the  work  of  the  minor  pot- 
ters. Turning  from  these  cases  to  the  Japanese  section,  if  by  good  fortune 
the  museum  possesses  one,  the  contrast  is  striking.  Such  an  absence  of 
due  proportion  would  be  paralleled  by  a  general  zoological  museum  dis- 
playing, for  example,  a  complete  collection  of  European  and  North  Amer- 
ican insects,  and  for  South  America  possessing  a  few  bright  butterflies 
and  the  elytra  of  metallic-lustred  beetles  mounted  as  jewelry.  I  am  thus 
explicit  in  justification  of  the  apparently  redundant  exhibition  of  specimens 
in  some  of  the  provincial  groupings,  and  the  display  of  certain  specimens 


-85236 


iv  PREFACE 

which  are  more  curious  than  beautiful,  and  in  some  instances  even  posi- 
tively ugly.  The  importance  of  each  specimen  has  been  fully  weighed  in 
accordance  with  the  effort  to  secure  the  work  not  only  of  every  known 
family  of  potters  in  Japan,  but  of  all  the  generations  of  each  family  and 
their  collateral  branches,  with  the  various  marks  used  by  them.  So  far  as 
possible,  the  range  of  work  of  each  potter  has  been  attempted.  The  differ- 
ent kinds  of  objects  made  in  pottery  have  not  been  overlooked ;  and  while 
this  portion  of  the  collection  would  be  more  appropriate  in  a  museum  of 
ethnology,  the  artistic  character  of  the  people  is  well  illustrated  by  the 
objects  associated  not  only  with  their  tea-drinking,  writing,  flower  arrange- 
ment, etc.,  but  with  the  more  humble  service  of  the  kitchen. 

Since  the  collection  came  into  the  possession  of  the  Museum  of  Fine 
Arts  in  1892,  sixteen  hundred  and  seventy-seven  specimens  have  been 
added  to  it,  of  which  two  hundred  and  eighty-five  have  been  by  gifts,  and 
thirteen  hundred  and  ninety-two  by  purchase. 

Grateful  acknowledgments  are  due  to  Dr.  William  Sturgis  Bigelow,  Mr. 
Denman  W.  Ross,  Dr.  Charles  G.  Weld,  Mr.  George  W.  Wales,  Mr.  Henry 
O.  Havemeyer,  Mr.  Frederick  S.  Dickson,  Mrs.  John  J.  Glessner,  Sir 
William  H.  Van  Home,  Mr.  Thomas  E.  Waggaman,  Mr.  John  C.  Ban- 
croft, Mr.  Charles  L.  Freer,  Mr.  James  Ford  Rhodes,  Baron  von  Richt- 
hoven,  Mons.  Louis  Gonse,  Mr.  Rufus  E.  Moore,  Mr.  Charles  H.  Read, 
Dr.  T.  C.  Mendenhall,  Mrs.  Helen  Abbott  Michael,  Dr.  J.  W.  Baker, 
U.  S.  N.,  Mons.  S.  Bing,  Dr.  Edward  Wigglesworth,  Hon.  Charles  A. 
Dana,  Mrs.  Russell  Robb,  Lieutenant  Foster,  U.  S.  N.,  Mr.  Howard  Mans- 
field, Mrs.  Henrietta  Page,  Mr.  Frederick  H.  Bigelow,  Mr.  Augustus 
Hemenway,  Mr.  Samuel  Colman,  Mr.  Francis  Bartlett,  Mr.  George  lies. 
Miss  Lucy  Ellis,  Dr.  Justus  Brinckmann,  Mr.  A.  D.  Weld  French,  Dr. 
Ernest  Hart,  and  many  others,  for  their  contributions  to  the  collections. 

The  collection  given  by  Dr.  Bigelow  embraces  many  specimens  of  great 
rarity  and  beauty,  among  which  should  specially  be  mentioned  a  Chinese 
bowl  of  the  thirteenth  century.  The  rarest  object  in  the  entire  collection 
is  a  bowl  of  one  of  the  early  Zengoros,  given  by  Mr.  Denman  W.  Ross ; 
another  exceedingly  rare  object,  also  representing  one  of  the  early  Zen- 
goros, was  presented  by  Mr.  George  lies.     A  rare  bowl  of  early  Kyoto,  the 


PREFACE  V 

gift  of  Mr.  Bancroft,  and  a  flower  vessel  with  the  rare  mark  Rakuto,  by 
Mrs,  Henrietta  Page,  should  be  specially  mentioned.  In  this  connection 
I  must  thank  Mr.  Hiromichi  Shugio,  Mr.  Bunkio  Matsuki,  Mr.  Takaganagi, 
Dr.  Seiken  Takenaka,  Mr.  Shigejiro  Yamanaka,  Mr.  Michitaro  Hisa,  Mr. 
Rokubei,  Mr.  Choyu,  Mr.  Meiki  Matsuki,  Mr.  Yamanaka,  Mr.  Morimoto, 
Mr.  Ushikubo,  and  many  others  whose  names  appear  in  the  catalogue. 
Indeed,  in  one  way  or  another,  I  have  laid  every  Japanese  friend  under 
contribution :  one  has  proved  to  be  a  good  reader  of  obscure  marks ; 
another  comes  from  a  province  whose  pottery  is  but  little  known,  and  in 
this  instance  he  has  been  induced  to  write  to  some  antiquarian  friend 
at  home  for  information. 

In  these  various  acknowledgments  I  must  not  omit  the  name  of  Miss 
Margarette  W.  Brooks,  who  has  been  identified  with  the  catalogue  since 
the  work  began,  and  who  has  with  infinite  care  copied  all  the  manuscripts, 
verified  the  marks,  and  aided  in  the  instalment  of  the  collection  in  the 
cases,  nor  that  of  Miss  Beata  L.  Gray,  who  has  in  various  ways  assisted  in 
the  work.  To  Mr.  John  Robinson,  my  coadjutor  in  Salem,  who  has  for 
years  relieved  me  of  many  duties  in  connection  with  the  work  of  the 
Peabody  Academy  of  Science,  no  words  of  mine  can  adequately  express 
my  gratitude.  To  Dr.  James  R.  Chadwick,  as  chairman  of  the  committee, 
and  the  subscribers,  one  and  all,  who  by  their  spirit  and  liberality  secured 
the  collection  for  the  Museum  of  Fine  Arts,  a  grateful  recognition  is  here 
recorded.  To  the  director.  Gen.  Charles  G.  Loring,  Mr.  Edward  Robinson, 
Dr.  W.  S.  Bigelow,  and  Mr.  Denman  W.  Ross,  who  have  throughout  the 
task  shown  the  keenest  interest,  my  acknowledgments  are  particularly  due. 
To  certain  private  collectors  who  have  freely  parted  with  rare  objects  that 
this  catalogue  might  be  as  nearly  complete  as  possible,  and  without  whose 
unselfish  spirit  there  would  have  been  many  lacunae,  my  devout  gratitude 
is  most  heartily  expressed.  Finally,  I  wish  to  recognize  the  painstaking 
care  with  which  Mr.  A.  W.  Elson  has  made  the  photogravure  plates,  Mr. 
C.  A.  Watts  of  the  Boston  Engraving  Co.  has  reproduced  the  marks, 
Mr.  C.  A.  Lawrence  with  untiring  patience  has  taken  the  photographs 
of  the  cases  for  the  plates,  and  the  firm  of  Houghton,  Mifflin  &  Co.  has 
made  the  book. 


CONTENTS 


INTRODUCTION. 

Sources  of  Information.  As  to  Names.  False  Guides. 
Obscure  Potters.     Amateur  Potters.     Pottery-Making  1-7 

Decoration. 

Animals  and  Plants.  Natural  Scenery  and  Natural 
Objects.  Associated  Objects.  Sports  and  Games.  Fes- 
tivals. Tools  and  Utensils.  Structures.  Crests.  Sym- 
bolisms. Conventional  Scrolls  and  Diapers.  Inscrip- 
tions. Glazes.  Brush-Marks.  Schools  followed  in 
Decoration .        .     7-13 

Principal  Uses  of  Objects  in  the  Collection. 

House.  Kitchen.  Sacra.  Food  -  Vessels.  Heating. 
Illumination.  Tea-Making.  The  Tea-Ceremony.  Wine. 
Smoking.  Writing-Table.  Artist's  Materials.  Flowers. 
Incense-Burners.  Incense-Boxes.  Ornamental  Objects. 
Objects    worn    on    the    Body.       Decorative    Material. 


INTRODUCTION  -.  —  continued. 

Toilet-Table.     Games  and  Toys.     Gardens.     Medicine. 
Pottery-Making.      Miscellaneous.      Explanatory   Notes  13-24 

THE  CATALOGUE. 

Korean  Pottery 25-31 

Japanese  Pottery      31-364 

Of  Doubtful  Provenance 343-348 

Of  Unknown  Provenance         ....  349-351 

Ethnological .  351 

Recent  Accessions 352-364 

Final  Notes 364 

ALPHABETICAL   INDEX   OF   PROVINCES   ...  367 

ALPHABETICAL   INDEX   OF   POTTERIES    .        .        .  370-372 

ALPHABETICAL   INDEX   OF  SIGNATURES        .        .  373-383 


LIST  OF   PLATES 

A.   Inserted  in  the  Text 


PAGE 

Frontispiece.     Showing  arrangement  of  Cases  from  i  to  40 

Case  I.    Korea  :  Early  Historic  and  Recent 30 

2.  Japan  :  Pre-historic  and  Early 36 

3.  Province  of  Hizen 42 

4.  Province  of  Hizen 48 

5.  Province  of  Bizen 54 

6.  Provinces  of  Tsushima,  Tosa,  and  Settsu         ....  66 

7.  Province  of  Omi 74 

8.  Province  of  Higo 80 

9.  Province  of  Nagato 84 

10.  Province  of  Kaga 92 

11.  Province  of  Ise 104 

12.  Provinces  of  Yamato,  Echizen,  Chikugo,  Iyo,  Shimotsuke,  Ko- 

zuke,  Hidachi,  and  Mino       . 116 

13.  Provinces  of  Suo,  Sado,  and  Awaji 124 

14.  Provinces  of  Buzen,  Izumi,  Shinano,  Iwami,  and  Suruga         .  136 

15.  Provinces  of  Kii  and  Iga 146 

16.  Provinces  of  Totomi  and  Hariha 156 

17.  Provinces  of  Izumo  and  Aki 164 


X  LIST  OF   PLATES 

PAGE 

Case  1 8.  Province  of  Chikuzen 170 

19.  Province  of  Sanuki 178 

20.  Province  of  Tamba 182 

21.  Province  of  Owari  .        .        . 188 

22.  Province  of  Owari 194 

23.  Province  of  Owari  ..........  200 

24.  Province  of  Owari 204 

25.  Province  of  Owari 208 

26.  Province  of  Owari 216 

27.  Province  of  Yamashiro 222 

28.  Province  of  Yamashiro 234 

29.  Province  of  Yamashiro 240 

30.  Province  of  Yamashiro 248 

31.  Province  of  Yamashiro .        .        .  252 

32.  Province  of  Yamashiro 266 

33.  Province  of  Yamashiro .        .  276 

34.  Province  of  Yamashiro 290 

35.  Province  of  Musashi 308 

36.  Provinces  of  Iwaki  and  Rikuzen 318 

37.  Province  of  Satsuma 326 

38.  Provinces  of  Satsuma  and  Osumi 334 

39.  Doubtful  and  Unknown 35° 

40.  Recent  Accessions 3^4 


LIST   OF    PLATES 
B.   At  the  end  of  the  Volume 


Plate  I.   Upper  half.  Hizen.     Karatsu. 

Lower  hall  Hizen.     Karatsu,  GoroshichL 

IL   Upper  half.  Bizen.     Imbe. 

Lower  half.  Tosa.     Odo,  Shohaku. 

III.  Upper  halL  Tsushima.     Yaheda,  Shiga. 

Lower  half.  Settsu.      Kosobe,    Naniwa,    Kikko,    Kyuzan,    Sakurai    no 

Sato. 

IV.  Upper  half.  Omi.     Shigaraki,  Bairin,  Ubagamochi,  Hira,  Zeze. 
Lower  half.  Higo.     Koda,  Higo,  Shofu. 

V.   Upper  half.  Nagato.     Fukagawa,  Setsuzan,  Michisuke. 

Lower  half.  Kaga.     Rendaiji,  Ohi,  Kutani. 

VI.   Upper  half.  Ise.     Anto,  Banko. 

Lower  half.  Ise.     Yusetsu,  Banko,  Fueki  Banko,  Isawa. 

VII.   Upper  hal£  Echizen.     Setosuke. 

Lower  half.  Awaji.     Mimpei. 
MiNO.     Kujiri. 

HiDACHi.     Kairaku.  ' 

VIIL  Suo.    Tada. 

IX.  Buzen.     Denko,  Buzen,  Hosho,  Agano. 

X.  IzuMi.     Kichiyemon  (Kichibei),  Minato,  Kichiyemon. 

XI.  Shinano.     Yukichiruya,  Ikichiruya,  Bokusai,  Igara. 

XII.  IwAHi.     NagamL 


xii  LIST  OF  PLATES 

XIII.  Upper  half.  Kii.     Kairakuyen,  Meppotani. 

Lower  half.  Iga.     Shinjiro,  Iga,  Marubashira,  Tokusai. 

XIV.  Upper  half.  Totomi.     Shidoro. 

Lower  half.  Harima.     Ryushi,  Akashi,  Maiko. 

XV.    Upper  half.  Izumo.     Fujina,  Zenshiro,  Rakuzaa 

Lower  half.  Chikuzen.     Takatori. 

XVI.    Upper  half.  Sanuki.       Minzan,     Yohachi,      Shido,     Yashima,     Sanuki, 

Naohachi. 

Lower  half.  Tamba.     Tachikui,  Naosaku,  Tamba. 

XVII.  OwARi.    Toshiro  and  his  Successors. 

XVIII.    Upper  half.  Owari.     Shino. 

Lower  half.  Owari.     Shunki,  Shun-u,  Shunzan. 

XIX.    Upper  half.  Owari.     Gempin,  Ki  Seto. 

Lower  half.  Owari.     Hagiyama,  Sasashima,  Masaki,  Fujimi,  Toyosuke. 

XX.    Upper  half.  Yamashiro.     Bizan,  Iwakurayama,  Awata,  Hozan,  Tanzan. 

Lower  half.  Yamashiro.     Rokubei,  Yos5be,  Kitei,  Shichibei. 

XXI.    Upper  half.  Yamashiro.     Dohachi. 

Lower  half.  Yamashiro.     Mokubei,  Kenzan,  Kichibei. 

XXII.    Upper  half.  Yamashiro.     Sozen,  Hozen,  Wagen,  Yokuro. 

Lower  half.  Yamashiro.     Riyoniu. 

XXIII.  Upper  half.  Yamashiro.     Otowa,  Ninsei. 

Lower  half.  Yamashiro.     Takagamine,  Sohaku,  Shoi,  S5-i,  Koson,  Taihei, 

Asahi. 

XXIV.  MusASHi.     Rakurakuyen. 


LIST  OF  PLATES  xiii 

XXV.    Upper  half.  Musashi.     Kenya,  Tokuzan,  Kenzan,  Mizuno,   Korakuyen, 

Tamagawa. 

Lower  half.  Iwaki.     Seijiyemon,  Soma,  Komaru,  Nakamura. 

XXVL   Upper  half.  Satsuma.     Satsuma,  Hohei,  Hoju,  Sunkoroku. 

Lower  half.  Satsuma.     Satsuma,  Tsuboya. 

XXVIL   Upper  half.  Satsuma.     Mishima,  Betsukafu,  Hoyei,  Sam6, 

Lower  half.  Satsuma.     White  Satsuma,  Nishiki-de. 

XXVIIL  Musashi  ?    Keizen. 


INTRODUCTION 


Sources  of  Information 

The  difficulties  in  the  way  of  acquiring  reliable  information  upon  the 
subject  of  Japanese  pottery  are  very  great.  The  work  of  Ninagawa  Nori- 
tane,  entitled  Kwan  Ko  Dzu  Setsu,  1876-79,  embraces  much  of  the  definite 
information  contained  in  previous  works  on  the  subject.  Kogei  Shirio,  a 
hand-book  issued  by  the  National  Museum  in  Tokyo,  gives  in  a  condensed 
form  much  of  the  matter  found  in  Ninagawa's  work.  Later  editions  of 
Kogei  Skirio  add  a  few  potteries  from  additional  provinces.  There  are 
many  copies  in  MSS.  by  different  writers  to  be  found,  but  these  give 
little  information  not  presented  by  later  works.  In  native  documents  of 
this  kind,  both  published  and  in  MSS.,  the  information  about  Japanese 
pottery  never  seems  to  go  beyond  a  certain  number  of  potters  limited  to 
a  certain  number  of  provinces ;  and  Ninagawa,  in  his  work,  has  brought 
nearly  all  this  information  together,  and  added  to  it  the  fruits  of  much 
correspondence,  and  the  results  of  many  long  journeys  in  quest  of  material. 
The  only  publications  of  merit  in  English  on  Japanese  pottery  are,  almost 
item  for  item,  a  translation  of  Kwan  Ko  Dzu  Setsu  or  of  Kogei  Shirio,  usu- 
ally without  a  word  of  credit  being  accorded  to  these  works :  the  two  nota- 
ble exceptions  are  fapanese  Pottery :  Being  a  Native  Report,  edited  by  Sir 
Augustus  W.  Franks,  and  issued  as  a  South  Kensington  Art  Handbook; 
and  Thomas  E.  Waggaman's  catalogue,  compiled  and  edited  by  H.  Shugio. 
The  student  will  find  a  most  appreciative  chapter  on  Japanese  pottery  by 
Mr.  Charles  Holme  in  the  second  edition  of  fapan  and  its  Art,  by  Mr. 
Marcus  B.  Huish.  I  would  also  mention  an  interesting  little  handbook, 
La  Ceramique  faponais,  by  Mr,  O.  Tokunosuke  and  Mons.  E,  Deshayes,  and 
the  chapters  on  pottery  in  L'Art  fap07tais,  by  Mons.  Louis  Gonse,  and  in 
Artistic  fapan,  by  Mons.  S.  Bing.  I  have  derived  much  information  from 
Ninagawa's  private  copy  of  his  work,  containing  important  additions  and 
corrections  by  the  author,  as  well  as  from  MSS.  letters  and  memoranda  which 
came  into  my  possession  immediately  after  the  death  of  this  lamented  anti- 
quarian. I  have  also  secured  additional  information  from  Bampo  Zensho^ 
1705  ;  Ko  Kon  Meibutsu  Riushiu,  1787  ;   Tokiko,  1853;  Kenzan  Yaki  Yaki 


3  INTRODUCTION 

His  ho ;  articles  in  Ko  Kwa  by  Professor  Imaidsumi ;  Kaga  Etchu  Tqji- 
Koso  by  Shohata  Takaoka ;  and  Toki  Shoshi  by  Koga  Seishu.  I  have  also 
derived  matter  from  single  printed  sheets  on  Toshiro  and  his  descendants, 
and  also  on  certain  forms  of  Banko,  Raku,  and  other  potteries.  Special 
interviews  with  the  famous  potters  of  Kyoto,  notably  Kichizayemon,  Yeiraku, 
Dohachi,  Rokubei,  Kitei,  and  Zoroku  have  added  many  points  concerning 
this  great  centre  of  the  potter's  art.  The  potters  and  antiquarians  of 
Musashi,  Owari,  Kii,  Higo,  Suo,  Aki,  and  other  provinces  have  also  aided 
me  in  my  inquiries.  During  my  residence  in  Japan  I  was  in  more  or  less 
intimate  relations  with  a  number  of  pottery  experts.  I  would  especially  men- 
tion Ninagawa,  Maida,  Kohitsu,  Kashiwage,  Kimura,  and  others.  My  chief 
sources  of  information,  outside  the  above-mentioned  books  and  men,  have 
been  interviews  with  leading  collectors,  chajins,  and  antiquarians  in  many 
parts  of  the  Empire.  The  collectors  freely  allowed  me  to  make  sketches 
of  their  specimens  and  "  rubbings  "  of  the  marks.  Since  my  return  to  this 
country  I  have  to  acknowledge  my  very  great  indebtedness  to  Mr.  Hiro- 
michi  Shugio,  the  author  of  the  classical  catalogue  of  the  Waggaman  col- 
lection ;  to  Mr.  Bunkio  Matsuki ;  and  to  Mr.  Michitaro  Hisa.  Mr.  Shugi5 
has  aided  in  the  identification  of  many  obscure  pieces,  and  has  spent  day 
after  day  studiously  examining  the  collection.  Mr.  Matsuki,  who  owes  his 
first  interest  and  knowledge  of  Japanese  pottery  to  me,  has,  during  his 
frequent  visits  to  Japan,  secured  many  items  of  importance  from  the  potters 
themselves,  and  has  been  particularly  skilful  in  interpreting  obscure  marks. 
And  Mr.  Hisa  has  translated  two  modern  works  for  me,  besides  securing 
very  valuable  information  regarding  the  pottery  of  his  native  province, 
Iwaki.  Nor  must  I  forget  Mr.  Takano,  who,  with  Mr.  Hisa,  has  drawn 
most  of  the  marks  which  are  here  published.  In  his  work  Mr.  Takano 
has  also  interpreted  many  marks  that  were  puzzles  to  every  one  in  Japan, 
notably  the  enigma  of  Yohachi.  I  cannot  neglect  here  to  acknowledge 
my  indebtedness  to  Mr.  Shioda,  Mr.  Yamataka,  Director  of  the  National 
Museum  in  Tokyo ;  and  to  a  host  of  Japanese  friends,  who  have,  by  corre- 
spondence and  otherwise,  aided  in  throwing  light  on  obscure  points. 
Finally,  I  have  made  many  determinations  by  a  critical  comparison  of 
unidentified  specimens  and  marks  with  specimens  the  attribution  of  which 
could  not  be  gainsaid. 

I  mention  all  these  facts,  as  the  sources  of  information,  outside  the  few 
beaten  tracks,  are  scant  and  too  inadequate  for  a  proper  exposition  of  the 
subject.  It  is,  therefore,  with  some  reluctance,  and  after  considerable  delay, 
that  I  present  this  preliminary  catalogue. 


INTRODUCTION  3 

With  this  explanation  I  venture  to  offer  this  catalogue,  which  includes 
much  that  is  already  known,  and  some  information  which  may  prove  new 
even  to  Japanese  experts. 

For  the  erroneous  attributions  and  blunders  which  are  sure  to  be  found 
in  this  catalogue,  I  can  only  say  that  in  the  one  case  it  will  not  be  the  result 
of  haste ;  and  in  the  other  I  have  only  to  quote  a  reviewer  in  the  London 
AthencEum,  who  has  most  truly  recognized  the  conditions  involved  in  a 
work  of  this  nature,  as  follows :  "  One  of  the  ablest  students  of  our  time 
said  seriously,  '  If  you  are  seeking  renown  on  account  of  extreme  exactness 
in  literary  work,  and  in  doing  homage  to  what  has  been  fantastically  called 
the  "  rod  of  accuracy,"  try  a  little  cataloguing.  If  that  does  not  check  your 
vanity,  make  you  charitable  towards  the  blunders  of  others,  and  convince 
you  that  it  is  human  to  err,  never  trust  my  word  again.' " 

As  to  Names 

Much  confusion  exists  among  the  Japanese  experts  in  regard  to  the 
proper  designation  of  different  kinds  of  pottery.  A  number  of  names  are 
often  applied  to  the  same  pottery ;  and  again,  a  number  of  distinct  kinds 
are  united  under  a  single  name.  In  such  cases  I  have  given  preference  to 
that  name  which  is  indicated  by  the  mark  it  bears.  For  example,  a  pottery 
bearing  the  impressed  mark  Otafuku  is  known  by  that  name,  but  more 
commonly  it  is  spoken  of  as  Daigo  pottery,  from  the  region  in  Ky5to  where 
it  is  made ;  in  this  case  the  name  Otafuku  will  be  retained  for  this  pottery. 
Again,  the  product  of  a  family  of  potters  may  be  known  under  a  number  of 
names,  as  a  variety  of  marks  were  used  in  the  work.  Thus  the  marks 
Toyosuke,  Toyohachi,  Horaku,  and  others  are  found  on  the  work  of  Toyo- 
suke  of  Nagoya;  in  this  case  the  name  Toyosuke  alone  will  be  retained. 
Ninagawa  had  always  supposed  that  the  name  Zentokoro  referred  to  the 
product  of  a  single  kiln,  but  on  personal  inquiry  of  Mr.  Shibata,  a  former 
official  of  Zentokoro,  he  learned  that  this  name  included  a  number  of 
quite  distinct  potters  and  widely  separated  ovens,  such  as  Oye,  Seta,  and 
Bairin,  as  these  various  ovens  belonged  to  the  land  area  owned  by  the 
Zentokoro  family.  As  these  potters  varied  in  origin  and  method,  the  names 
will  be  considered  separately,  and  not  as  Zentokoro.  As  to  geographical 
names,  pottery  is  sometimes  known  by  the  name  of  the  town  where  it  is 
sold,  and  not  by  the  name  of  the  place  of  baking.  Thus  Koda  pottery  is 
known  throughout  Japan  as  Yatsushiro.  Yet  in  the  province  it  is  known 
as  Koda.  Arita  is  known  as  Imari.  A  parallel  case  is  seen  in  Europe, 
where  the  pottery  made  in  Meissen  is  known  as  Dresden,  at  which  place 
the  product  is  sold. 


4  INTRODUCTION 

My  use  of  the  words  "  rare,"  "  very  rare,"  etc.,  is  in  the  interest  of  col- 
lectors, and  based  upon  my  own  experience  as  a  collector.  This  experience 
has  been  derived  from  the  examination  of  hundreds  of  collections  in  Japan, 
public  and  private,  including  the  stock  in  trade  of  innumerable  bric-a-brac 
shops.  Added  to  this  may  be  mentioned  a  more  or  less  critical  examina- 
tion of  the  leading  public  and  many  private  collections  of  Europe  and 
America.  It  should  be  understood  that  rarity  does  not  always  signify  an 
original  high  value  or  beauty  or  even  intrinsic  merit. 

False  Guides 

There  is  no  royal  road  leading  to  the  identification  of  pottery.  Counter- 
feits either  of  age  or  mark  can  be  determined  only  by  familiarity  with  the 
genuine.  The  mark  of  the  potter,  if  the  piece  be  genuine,  is  the  best  clue. 
In  the  pottery  of  some  provinces,  notably  Hizen,  Nagato,  and  Tosa,  the 
pieces  are  rarely  signed,  and  here  an  appeal  must  be  made  to  the  clay. 
The  name  of  a  village  or  shrine  written  or  impressed  on  pottery  is  no  safe 
criterion  of  its  origin.  At  many  of  the  shrines  and  leading  pleasure  resorts 
in  Japan,  one  may  buy  for  a  trifle  some  little  souvenir  of  the  place,  and 
usually  the  object  has  been  made  in  the  immediate  neighborhood,  and  from 
the  material  gathered  there.  Thus  at  Nikko  one  gets  various  forms  of 
boxes  and  cups  made  from  a  large  woody  fungus ;  at  Hakone,  inlaid  wood- 
work ;  at  Enoshima,  shellwork,  etc.  These  are  all  true  souvenirs  of  their 
respective  places.  As  to  the  pottery  souvenirs  one  cannot  be  so  sure :  such 
objects  may  be  made  at  some  great  pottery  centre  and  impressed  with  the 
mark  of  some  great  resort  where  they  are  to  be  sold  as  souvenirs,  as  is  the 
case  probably  with  one  form  of  Miyajima  pottery.  Even  the  name  written 
on  a  time-worn  box,  with  carefully  folded  attestation  within,  is  a  hazardous 
guide,  as  the  original  specimen  may  have  been  broken  or  lost,  and  another 
specimen,  equally  valuable  perhaps,  substituted.  Ninagawa  was  deceived  in 
this  way  by  a  bowl  of  Rokubei,  with  mark  erased,  being  found,  cuckoo-like, 
in  a  box  from  which  a  Satsuma  bowl  had  been  displaced.  Above  all,  the 
crest  or  mon  of  a  family  appearing  on  the  pottery  is  absolutely  worthless 
in  identifying  the  origin  of  the  specimen. 

Obscure  Potters 

The  apparent  ease  with  which  the  Japanese  turn  to  pottery-making  has 
led  to  hosts  of  petty  potters  following  the  pursuit  for  a  short  time,  their 
product  being  usually  in  faint  imitation  of  reputable  work.  Any  attempt  at 
originality  has  led  to  the  production  of  absurdities  which  have  rarely  sur- 


INTRODUCTION  5 

vived.  The  duration  of  these  outputs  has  been  so  short,  and  the  character 
of  the  work  so  unimportant,  that  no  record  has  been  left  of  the  potters' 
existence.  The  age  of  such  pieces  may  be  fairly  determined,  and  the  place 
of  baking  may  also  be  guessed  at ;  but  beyond  this  it  is  oftentimes  impos- 
sible to  get  more  light  on  the  subject,  nor  is  it  of  any  importance  in  many 
cases  to  do  so. 

Amateur  Potters 

The  bane  and  misery  of  the  student  of  Japanese  pottery  are  the  produc- 
tions of  the  amateur  potter.  It  has  been  the  custom,  in  Japan,  for  devotees 
of  the  tea  ceremonies  usu-cha  and  sen-cha  to  try  their  hand  at  an  art 
they  all  adore  —  that  of  pottery-making.  Some  of  the  work  is  good,  and, 
like  amateur  work  in  general,  some  of  it  is  atrocious,  and  fortunately 
carries  with  it  the  sign  of  its  amateur  origin,  and  this  sign  is  about  the 
only  feature  that  can  be  recognized.  Though  the  pieces  usually  bear  an 
impressed  or  written  mark,  the  characters  are  either  undecipherable,  or,  if 
capable  of  translation,  reveal  the  poetic  name  of  some  garden  or  summer 
house,  or  some  general  poetic  name.  They  may  also  record  the  fact  that 
the  earth  is  taken  from  some  historic  shrine  or  famous  mountain,  or  that 
the  potter  has  reached  the  age  of  eighty  or  more  years.  As  an  illustration 
of  the  origin  of  some  of  this  work,  for  example,  the  amateur  potter  has 
made  a  pilgrimage  to  some  distant  province,  from  which  region  he  brings 
back  a  quantity  of  clay;  he  gathers  materials  for  glazing  from  another 
province,  settles  down  two  hundred  miles  from  the  last  place,  and  struggles 
with  the  difficulties  of  this  time-honored  art  by  shaping  a  bowl  or  incense- 
box,  and  having  baked  it,  may  apply  the  glaze  when  he  gets  home  and 
bake  it  again.  An  artist  friend  adorns  it  with  a  sprig  of  bamboo  and  signs 
it  with  his  pseudonym.  Such  are  the  difficulties  in  the  way  of  identification 
of  these  veritable  puzzles.  A  study  of  Japanese  pottery  is  not  complete, 
however,  without  a  consideration  of  this  work.  The  amateur  often  dis- 
covers new  kinds  of  clay  and  glaze,  and  often  suggests  more  refined  forms 
or  new  kinds  of  objects  which  may  be  made  of  clay.  The  work  of  the  pro- 
fessional potter  has  often  been  affected  by  the  pottery  ronin.  In  a  parallel 
way  our  amateur  photographers  and  microscopists  have  done  a  great  deal 
by  their  discoveries  in  advancing  the  character  of  the  instruments  demanded 
by  the  professional  workers  in  these  branches. 

In  this  class  of  pottery  erroneous  attributions  are  sure  to  be  made  from 
the  fact,  as  before  stated  (unless  definite  records  are  at  hand),  that  the  only 
feature  identifiable  about  the  pottery  is  that  it  is  non-professional ;  and  even 


6  INTRODUCTION 

here  mistakes  will  be  made,  as  the  work  of  some  professionals  is  as  bad  as 
that  of  the  amateur,  and  conversely,  though  rarely,  the  work  of  the  ama- 
teur is  as  good  as  that  of  the  professionals. 

Pottery- Making 

The  prehistoric  pottery  of  Japan  was  modeled  by  hand,  and  to-day,  in 
various  parts  of  the  empire,  this  ancient  art  is  continued  in  its  prehistoric 
form.  There  are  many  potters  in  Japan  who  are  still  at  work  using  only 
the  hand  in  making  bowls,  delicate  teapots,  and  dishes  of  various  kinds. 
The  pottery  vessels  used  as  offerings  at  Shinto  shrines  are  usually  made 
without  the  use  of  the  wheel  and  are  unglazed. 

The  potter's  wheel,  erroneously  attributed  to  Gyogi  Bosatsu,  was  brought 
to  Japan  from  Korea.  The  first  wheel  was  probably  the  kick-wheel  used 
in  Satsuma  and  other  southern  provinces.  The  common  form  of  potter's 
wheel  consists  of  a  wooden  disk  fifteen  to  eighteen  inches  in  diameter  and 
three  inches  thick.  This  is  fastened  to  a  hollow  axis  fourteen  or  more 
inches  in  length ;  a  spindle  with  pointed  end  rises  firmly  from  the  ground, 
and  on  this  the  wheel  rests,  the  spindle  passing  up  through  the  hollow  axis, 
and  a  porcelain  saucer  or  cup  being  inserted  in  the  wheel  to  lessen  friction 
as  it  rests  on  the  spindle.  The  wheel  itself  is  on  a  level  with  the  floor,  and 
the  potter,  sitting  in  the  usual  Japanese  position,  bends  over  the  wheel, 
which  he  revolves  by  inserting  a  slender  stick  in  a  shallow  hole  or  depres- 
sion near  the  periphery  of  the  wheel.  With  a  few  vigorous  motions  of  his 
arm  the  wheel  is  set  in  rapid  motion,  then,  with  his  elbows  braced  against 
his  knees,  the  whole  body  at  rest,  he  has  the  steadiest  command  of  the  clay 
he  is  to  turn.  As  the  wheel  slackens  in  motion  he  again  sets  it  twirling. 
The  wonderful  delicacy  of  the  work  of  the  Japanese  potter,  as  shown  in 
certain  graceful  wine-bottles,  and  marvelously  thin  and  symmetrical  bowls, 
must  be  accounted  for  by  the  potter's  attitude  and  the  resultant  steadiness 
while  throwing. 

Sir  Ernest  Satow,  in  his  Korean  Potters  in  Satsuma  {Proc.  Asia.  Soc.  of 
Japan,  i8y8),  says  that  these  potters  use  wheels  of  different  sizes.  These 
are  formed  of  two  wooden  disks  connected  by  four  bars  of  wood.  A  spindle  ' 
rising  from  a  square  pit  passes  through  a  hole  in  the  lower  disk,  and  upon 
its  pointed  end  the  upper  disk  rests,  a  porcelain  cup  forming  the  bearing, 
as  already  mentioned.  In  the  smallest  of  these  wheels  the  upper  disk  is 
fifteen  inches  in  diameter,  while  the  lower  one  has  a  diameter  of  eighteen 
inches.  The  potter  sits  on  the  edge  of  the  pit  and  pushes  or  kicks  the 
lower  wheel  with  his  left  foot,  the  wheels  being  far  enough  apart  to  allow 


INTRODUCTION  7 

the  lower  wheel  to  be  kicked  freely.  The  Korean  wheel,  as  described  by 
Mr.  P.  L.  Jouy  {Science,  1888,  p.  144),  differs  from  this  in  form  in  having 
but  one  disk,  as  in  the  typical  Japanese  wheel.  The  potter,  on  a  level  with 
the  wheel,  sits  on  one  leg  and  kicks  the  wheel  with  the  other  leg.  The 
wheel  is  pivoted  in  the  centre  and  rolls  on  small  wheels  beneath.  North  of 
Canton  I  saw  a  potter's  wheel  on  a  level  with  the  potter  while  sitting,  and 
a  boy  stood  at  one  side  steadying  himself  by  holding  to  a  fixed  bamboo 
pole,  and  with  his  right  foot  kicking  the  disk  upon  which  rested  the  clay 
the  potter  was  manipulating.  The  ovens  are  a  series  of  chambers  resting 
side  by  side  and  built  against  the  sloping  side  of  a  hill,  the  lower  one  being 
four  or  five  feet  wide,  and  the  other  chambers  widening  gradually,  so  that 
the  upper  one,  which  may  be  the  eighth  or  tenth,  is  eight  or  more  feet  in 
width.  These  have,  on  their  ends,  a  large  opening  through  which  to 
charge  the  chambers,  and  a  smaller  opening  through  which  fuel  may  be 
passed.  These  chambers  are  connected  by  openings  within.  The  fire  is 
started  in  the  lower  one,  and  after  burning  briskly  for  a  while  fuel  is  added 
to  the  next  one  in  turn,  and  so  on  to  the  upper  chamber.  In  this  way  all 
the  heat  is  utilized.  I  have  drawings  of  this  form  of  oven  from  Korea,  and 
I  have  seen  the  same  form  in  China.  The  ovens  seem  much  more  firmly 
and  substantially  built  in  China  than  in  Japan.  There  are  single  round 
ovens  five  or  six  feet  in  diameter,' used  as  mufifles,  and  for  special  purposes 
of  baking.  For  fine  work  seggars  are  used  as  with  us.  For  the  baking 
of  Raku  pottery  a  small  furnace  is  built  in  the  house,  square-box  bellows 
being  used  to  insure  rapid  combustion.  In  many  places,  as  at  Koda,  near 
Yatsushiro,  a  single  range  of  ovens  is  used  by  all  the  potters  in  the  vicinity, 
and  the  numerous  marks  used  on  Yatsushiro  and  Bizen  are  called  oven 
marks,  and  indicate  the  work  of  the  individual  potter.  The  tools  used  by 
the  potter  are  of  the  simplest  description.  These  consist  of  a  few  wooden 
formers,  to  shape  the  inside  of  a  bowl ;  long  sticks  with  hooked  ends,  to 
follow  along  inside  a  narrow-necked  bottle ;  a  bit  of  leather,  used  wet,  to 
round  the  edges  of  bowls  and  dishes ;  a  pair  of  calipers,  to  secure  the 
proper  diameter;  a  wire,  to  separate  the  piece  from  the  wheel;  and  other 
utensils  of  equal  simplicity. 

DECORATION 

An  explanation  of  the  meaning  of  the  many  curious  motives  employed 
by  the  Japanese  in  the  decoration  of  pottery  would  involve  an  extended 
study  of  Japanese  and  Chinese  mythology,  classics,  history,  symbolism,  folk- 


8  INTRODUCTION 

lore,  and  religion.  Such  a  study  would  make  an  important  work  by  itself. 
Space  will  admit  only  the  briefest  allusion  to  this  most  interesting  subject. 
The  quaint  and  unexpected  objects  used  as  motives  in  decoration  seem 
very  strange  and  curious  to  us  until  we  know  their  meaning.  A  bowl 
decorated  with  a  fringe  of  straw,  with  sprig  of  pendent  pine,  or  a  red  lobster 
and  spray  of  sasa,  conveys  no  meaning,  unless  one  has  chanced  to  be  in 
Japan  on  New  Year's  Day,  and  has  seen  the  tasteful  decoration  of  straw, 
pine,  and  red  lobster  over  gateways  or  in  front  of  houses.  Natural  scenery, 
flowers,  and  the  like  are  evidently  clear  enough ;  but  even  these  have  their 
significances.  The  landscape  may  show  the  site  of  some  famous  temple,  or 
historic  ground  upon  which  an  heroic  deed  was  done,  or  it  may  recall  some 
place  celebrated  for  its  beauty.  The  flowers  also  have  their  language,  a 
sentiment  perhaps,  or  suggestion  of  some  historic  meeting.  The  methods 
and  motives  used  in  the  decoration  of  pottery  may  be  roughly  classified 
under  the  following  heads. 

Animals  and  Plants 

Drawings  of  the  monkey,  fox,  and  badger,  with  which  are  connected 
many  superstitions  and  curious  stories,  are  often  used  as  motives.  Fishes 
and  birds,  particularly  water-birds,  are  common  subjects.  Among  insects 
the  butterflies  and  stridulating  insects  lend  themselves  as  subjects  for  the 
artist.     Shells  and  the  cuttle-fish  are  not  uncommon. 

Natural  Scenery  and  Natural  Objects 

Simple  landscapes,  running  brooks,  the  peak  of  Fuji,  sprays  of  flowers, 
are  very  often  used  in  decorating  pottery.  The  effort  of  the  artist  is  never 
to  overload.  The  spray  of  flowers,  or  simple  landscape,  appears  on  one  side 
of  the  bowl.  The  sketches  are  often  of  great  merit,  and  we  wonder  at  the 
ability  of  a  common  potter  to  do  this  work,  or  to  command  such  talent 
The  designs,  however,  are  often  copied  from  the  masters :  a  heron,  by 
Okyo ;  a  monkey,  by  Sosen ;  a  bit  of  landscape  or  flash  of  fishes  from  some 
Kano  artist.  In  copies  of  this  kind  the  decorator  never  mutilates  the  draw- 
ing. If  a  spray  of  flowers  is  selected  to  adorn  a  bowl,  the  mass  is  drawn  as 
far  as  it  will  go  on  the  outside,  and  then  continued  over  the  rim  and  down 
the  inside  of  the  bowl,  running  to  the  bottom  or  across. 

Associated  Objects 

There  are  many  objects  almost  invariably  grouped  together.  Among 
the  common  examples  are  seen  the  lion  and  peony,  whitewood  and  sacred 


INTRODUCTION  9 

bird,  wind  and  tiger,  cloud  and  dragon,  waterfall  and  carp,  millet  and  quail, 
deer  and  maple,  rain  and  swallow  or  willow  and  swallow,  bamboo  and  spar- 
row, and  crane  and  tortoise.  Some  of  these  typify  aspiration,  long  life,  and 
good  fortune;  others,  the  delights  of  nature,  the  beauty  of  spring,  etc. 
Other  associations  of  objects  occur,  as  the  well-known  sho-chiku-bai,  repre- 
sented by  a  flower-pot  in  which  are  pine,  plum,  bamboo,  and  precious  coral. 
The  four  wise  men  of  Confucius  are  typified  by  the  ran  (an  orchid),  chrys- 
anthemum, bamboo,  and  plum ;  the  three  stages  of  nature,  by  conventional 
figures  of  the  moon,  snowflake,  and  flower.  At  New  Year's  a  favorite 
present  consists  of  the  orange  and  dried  persimmon,  accompanied  by  the 
usual  folded  paper,  called  noshi.  Among  these  various  symbols,  those 
suggesting  longevity,  good  fortune,  riches,  and  New  Year's  festivities  are 
most  often  seen. 

Sports  and  Games 

The  Japanese  have  many  forms  of  indoor  and  outdoor  pleasures,  such  as 
games,  picnics,  tournaments,  and  the  like.  Among  these  may  be  men- 
tioned games  of  authors  and  other  card  games ;  go,  chess,  battledore  and 
shuttlecock,  music,  poetry,  writing,  tea  ceremonies,  painting,  archery,  fen- 
cing, polo,  hawking,  hunting,  fishing,  and  many  other  forms  of  enjoyment. 
These  are  variously  depicted  on  pottery,  either  by  the  sketch  of  the  game, 
play,  or  act,  or,  what  is  more  usual,  a  suggestion  is  given  by  drawing  the 
utensil,  instrument,  or  other  object  used.  The  poet  at  the  foot  of  a  water- 
fall is  being  inspired  to  write  some  apostrophe;  a  reel  and  line  suggest 
fishing ;  a  jug  of  sake,  being  warmed  over  a  fire  with  maple  leaves  for  fuel, 
tells  the  story  of  a  picnic ;  a  bamboo  spoon  and  stirrer  call  up  the  tranquil 
pleasures  of  the  tea  ceremony ;  and  so  with  other  objects  the  various  doings 
are  fully  brought  to  the  mind. 

Festivals 

* 
There  are  many  festivals  among  the  Japanese,  coming  at  certain  stated 

times  of  the  year,  —  a  festival  for  boys ;  the  Feast  of  Dolls,  a  girl's  festival ; 
and  others  to  celebrate  the  blooming  of  certain  flowers,  and  New  Year's 
Day,  of  course.  Objects  associated  with  these  and  other  festivals  are  used 
in  decoration.  A  bowl  to  be  given  on  New  Year's  Day  will  bear  the  decora- 
tion of  a  red  lobster  and  the  green  leaves  of  a  bamboo  grass.  The  lobster 
conveys  the  wish  that  the  recipient  may  live  to  that  age  when  his  back 
becomes  bent  like  the  lobster;  and  the  sasa,  or  bamboo,  conveys  the  wish  of 
long  life. 


lo  INTRODUCTION 

Tools  and  Utensils 

Tools  used  in  the  construction  of  a  house  or  vessel,  utensils  connected 
with  husbandry  and  domestic  work  generally,  as  the  rake,  hoe,  broom, 
though  it  may  be  a  ceremonial  rake  or  broom  to  sweep  the  little  devils  out 
of  the  house,  the  distaff,  reels,  etc.,  often  occur  as  embellishments. 

Structures 

One  sees  on  pottery  the  representation  of  certain  structures,  a  house 
roof  or  simple  roofing  tile,  a  castle  wall,  a  bridge  or  simple  bridge  post,  a 
trough  for  conducting  water,  a  well-curb,  a  rustic  fence,  a  torii,  and  many 
others.  An  infinite  variety  of  such  objects  is  seized  upon  by  the  Japanese 
potter  as  appropriate  subjects  for  pottery  embellishments.  Strange  and 
often  grotesque  as  many  of  these  appear  to  be,  the  artist,  in  his  choice, 
has  had  a  definite  object  in  view :  they  all  convey  some  sentiment  of  rural 
felicity,  home  life,  some  hint  or  suggestion  of  pleasant  association. 

Crests 

The  mon,  which  is  the  equivalent  of  our  heraldic  designs,  crests,  etc.,  is 
often  seen  on  pottery,  and  the  exquisite  character  of  these  conventional 
fieures  lends  itself  with  great  effect.  The  mo7i  of  the  Mikado  and  the 
families  of  the  Shoguns  and  certain  dominant  families  are  seen  upon  ves- 
sels, some  of  which  may  have  been  used  by  the  retainers  of  these  fami- 
lies. When  a  daimyo  or  other  official  ordered  pottery  from  some  potter  of 
his  own  or  even  of  some  remote  province,  he  desired  the  crest  of  his  family 
to  be  used  in  the  decoration  of  each  piece.  When  families  are  united  in 
marriage,  the  crests  of  both  families  may  be  found  interwoven  or  overlaid  as 
a  decoration. 

Symbolism 

The  Japanese  are  rich  in  symbolism,  and  largely  draw  on  this  material  in 
selecting  designs  for  their  art  industries.  Brocade,  metal  work,  pottery  and 
lacquer,  all  bear  witness  to  the  infinite  variety  of  these  subjects,  and  the 
never-ending  way  in  which  they  are  transformed  for  the  purposes  of  decora- 
tion. We,  also,  are  rich  in  symbolic  figures,  illustrating  attributes  or  condi- 
tions, such  as  hope,  faith,  plenty,  time,  courage,  meekness,  justice,  etc.  How 
rarely,  however,  are  these  objects  brought  into  use  as  decorative  motives ! 
With  the  exception  of  the  conventional  heart,  the  wheel  of  fortune,  and 
possibly  a  few  others,  our  symbols  are  represented  by  the  depiction  of 
veritable  objects,  such  as  the  scales  for  justice,  dove  for  peace,  hour-glass  for 


INTRODUCTION  ii 

time,  anchor  for  hope,  etc.  The  Japanese,  on  the  contrary,  have  among 
their  symbols  many  mythological  forms.  When  the  symbols  are  repre- 
sented by  veritable  objects,  as  the  rain-coat,  concealing  hat,  dove,  scroll,  and 
others,  they  are  drawn  in  a  conventional  way.  Even  the  pine,  bamboo, 
plum,  heron,  and  tortoise  are  often  conventionalized  in  drawing,  and  in  metal 
work  almost  beyond  recognition.  The  mythological  figures  are  seen  in 
various  monstrous  animals,  such  as  the  dragon,  phoenix,  lion,  and  a  crea- 
ture which  appears  like  a  cross  between  a  bull,  a  deer,  and  a  unicorn. 
The  seven  household  deities  of  good  fortune,  as  the  gods  of  longevity,  daily 
bread,  riches,  military  glory,  contentment,  lore  and  love,  are  variously  repre- 
sented. The  liberty  the  Japanese  take  with  their  household  deities  is 
shown  in  the  manner  in  which  they  are  often  caricatured.  Various  sects 
of  Buddhism  have  their  patron  saints,  certain  sects  having  their  special 
ones.  All  warriors  look  to  Bishamon-ten  as  their  special  patron.  Benzai- 
ten  attracts  followers  of  all  creeds.  Women  appeal  to  her  for  blessings  in 
the  form  of  wealth  and  beauty.  Daikoku  is  depicted  as  a  short,  fat  figure 
seated  on  a  bag  with  mallet  in  hand.     Merchants  propitiate  this  god. 

Conventional  Scrolls  and  Diapers 

Japanese  decorative  work  is  rich  in  the  variety  of  scrolls,  geometrical 
lattice  work,  and  diapers  of  various  kinds,  and  these  are  used  with  great 
skill.  The  so-called  Greek  fret,  which  the  Japanese  have  derived  from 
China,  is  common  in  a  variety  of  forms.  The  Mishima  style  of  decoration, 
which  is  either  incised  or  impressed  and  filled  with  clay  of  contrasting 
color,  consists  of  lines,  cross-hatchings,  encircling  bands,  stars,  circles,  punc- 
tures, and  conventional  flowers,  and  has  been  derived  from  Korea. 

Inscriptions 

The  pottery  often  bears  inscriptions  either  incised  or  written  in  some 
colored  pigment.  The  inscription,  when  translated,  may  turn  out  to  be  the 
advertisement  of  some  tea-house  or  a  recommendation  of  the  object  in 
question,  as,  for  example,  a  tea-pot  bears  the  following :  "  The  taste  of  the 
tea  depends  upon  the  article  in  which  it  is  made,  and  this  is  good  for  tea- 
making."  Sometimes  it  may  convey  a  humorous  admonition,  as  in  the  case 
of  a  little  bell-shaped  wine-cup,  which  cannot  possibly  be  put  down  with- 
out tipping  over ;  the  recipient  has  to  hold  the  cup  until  he  has  drank  the 
contents.  Written  in  black  are  these  words :  "  If  you  let  this  cup  wait  too 
long,  it  annoys  your  friend,  therefore  pass  to  the  left."  Again  the  writing 
may  give  the  poetic  name  of  some  garden  or  summer-house,  such  as  "  light 


12  INTRODUCTION 

summer  rain,"  or  a  sentiment  expressed  in  a  few  words,  "  long  life,  never 
old."  Usually,  however,  if  the  pottery  has  any  character,  the  inscription 
is  an  extract  from  some  Chinese  classic,  a  stanza  of  poetry  or  poetic  senti- 
ment, an  appeal  to  the  beauties  of  nature,  etc.  The  following  are  a  few 
translations  to  illustrate.  One  refers  to  a  man  in  a  strange  place  think- 
ing of  home,  and  being  specially  homesick  in  the  springtime ;  another  calls 
attention  to  the  beautiful  sound  of  water  striking  against  the  rocks.  On 
one  bowl,  upon  which  is  drawn  a  single  wild  flower,  is  the  inscription : 
"Transparent,  simple,  far  away  from  noise  and  dust."  Another  tells 
us,  "  The  dew  of  bamboo  makes  a  very  pleasant  sound  in  falling  on  the 
leaves  below."  On  another  is  depicted  a  gourd  hanging  on  its  vine ;  the 
legend  refers  to  a  happy  life,  without  care,  and  one  can  either  sit  or  stand. 
The  gourd  typifies  it :  if  the  gourd  is  light,  it  hangs  all  right ;  but  if 
heavy,  the  vine  breaks ;  so  with  a  man  weighted  with  business  cares.  The 
Japanese  love  of  nature,  in  its  sweetest  phase,  is  conveyed  in  the  following: 
"  The  fair  wind  blows,  the  branches  turn  green,  and  those  on  the  south  side 
blossom." 

Glazes 

In  certain  kinds  of  pottery,  as  in  that  of  Chikuzen,  and  notably  in 
special  forms,  as  in  the  tea-jars,  the  potter  depends  upon  his  glazes  for 
striking  effects.  The  over-glazes  are  so  applied  as  to  run  down  in  streams 
of  contrasting  color.  The  effects  are  often  unique,  and  the  behavior  of 
the  glazes,  while  not  under  complete  control,  is  yet  so  managed  that  the 
features  aimed  at  are  usually  attained. 

Brush  Marks 

Simple  strokes  of  the  brush  either  in  broad  dashes,  scrolls,  lines  crossed 
in  lattice  form,  or  dots,  are  often  used  to  modify  a  plain  surface.  In 
roughly  made  pottery,  as  in  certain  forms  of  Karatsu  and  Shino,  this 
decoration  is  often  seen.  It  gives  a  rude  and  archaic  appearance  to  the 
piece. 

Schools  Followed  in  Decoration 

With  the  help  of  Prof.  E.  F.  Fenollosa  a  rapid  survey  was  made  of  the 
collection  to  note  the  schools  followed  by  the  potters  in  the  decoration  of 
their  pieces.  The  result  was  interesting,  as  showing  the  refinement  and 
intelligence  of  the  potter  in  that  he  went  to  classical  sources  for  his  themes. 
Thus  roughly  may  be  stated  that  the  Kano  school  was  dominant,  even 


_. ^^/ 

INTRODUCTION  13 

Sesshu  and  the  early  Kano  school  being  represented.  Okyo  and  the  Shijd 
school,  Korin  and  Bunjinga  came  next  in  number.  The  Nagasaki  school 
was  not  uncommonly  followed,  and,  in  a  few  cases,  the  Soga  and  Tosa 
schools  were  represented.  Of  the  popular  school,  Ukioye,  only  four 
examples  were  seen ;  and  as  an  evidence  of  the  reserve  of  the  potter,  only 
one  instance  of  a  copy  of  Hokusai  occurs.  The  potters  of  the  provinces  of 
Sanuki  and  Kaga,  and  the  potter  Mokubei  of  Kyoto,  followed  the  Chinese 
school ;  while  Higo,  Iwaki,  Satsuma,  and  Kyoto  followed  Kano. 

PRINCIPAL   USES   OF  OBJECTS   IN   THE   COLLECTION 

Concerning  the  various  uses  to  which  pottery  is  applied,  the  Japanese 
are  only  equaled  by  the  Greeks  of  past  times.  Schliemann  records  the  fact 
that  the  ruins  of  the  first  prehistoric  city  of  Hissarlik  show  the  almost  uni- 
versal use  of  pottery  by  the  people.  "  Utensils  for  every-day  life,  terra- 
cotta funeral  urns,  large  terra-cotta  bowls,  weights  for  fishing-nets,  handles 
for  their  brushes,  and  even  hooks  to  hang  their  clothes  upon,  were  all  made 
of  pottery."  Where  we  use  silver  and  other  metals,  glass,  etc.,  in  the 
making  of  various  articles  for  daily  use,  the  Japanese  use  pottery. 

It  is  thought  proper  here  to  answer  some  of  the  questions  which  will 
naturally  be  asked,  by  explaining  the  uses  of  the  principal  objects  in  the 
collection.  Examples  of  many  of  these  are  grouped  together,  but  are  not 
on  exhibition  for  want  of  room. 

House 

For  use  in  the  house  may  occasionally  be  seen  a  vessel  the  upper  portion 
of  which  has  numerous  perforations.  This  is  used  to  hold  material  which, 
when  burnt,  produces  a  dense  smoke,  a  device  used  for  driving  mos- 
quitoes out  of  the  house  (cases  17  and  19).  Little  wheels  of  hard  pottery 
are  used  as  rollers  for  the  sliding  window  or  scuttle  in  the  roof  of  the 
kitchen ;  a  solid  block  of  pottery  in  the  form  of  a  tortoise,  bird,  or  simple 
square,  having  a  deep,  wide  notch  in  one  end,  is  used  to  hold  the  end  of  a 
standing  screen.  In  house  construction  the  roofing  tile,  sometimes  glazed, 
and  the  tiles  terminating  the  ends  of  the  ridge  or  the  eaves,  often  very 
elaborate,  are  of  pottery.  The  intricate  friezes  of  the  rooms,  usually  perfo- 
rated and  of  delicate  wood  carving,  are  sometimes  seen  in  porcelain.  The 
ornamental -headed  nails  and  recessed  contrivances  for  shoving  back  the 
screen  partitions  are  sometimes  made  of  porcelain. 


14  INTRODUCTION 

Kitchen 

The  Japanese  kitchen  is  rich  in  various  forms  of  pottery.  A  jar  as  large 
as  a  barrel  is  used  for  water  for  general  purposes ;  large  bottles  and  jugs  of 
various  sizes  are  used  to  hold  sauce,  vinegar,  oil,  and  wine.  There  are  a 
number  of  stout  bowls,  and  even  shallow  dishes,  the  bottoms  of  which  have 
been  roughened  by  deep  lines  or  imbrications,  like  a  wood-file,  to  grate 
radishes  and  other  substances,  —  a  device  which  might  come  into  practical 
use  in  our  kitchen.  There  are  jars  for  pickled  vegetables,  salted  fish,  etc. ; 
shallow  earthen  pans  for  parching  peas  or  corn ;  peculiarly  constructed 
vessels  for  the  purpose  of  steaming  cold  rice ;  covered  dishes  in  which 
to  prepare  fish  or  meat,  and  covered  bowls  to  cook  eggs  in  a  certain  way. 
Near  the  range  stands  a  rough  jar  filled  with  water ;  in  this  fragments  of 
burning  charcoal  are  dropped  when  the  fire  is  no  longer  needed.  This  is 
done  as  a  precaution  against  fire,  and  to  save  the  charcoal,  an  economy 
practiced  by  the  Japanese. 

Sacra 

In  every  house  a  little  shelf  may  be  found,  high  up  near  the  ceiling,  upon 
which  is  placed  the  household  shrine.  In  front  of  this  are  little  pottery 
lamps,  usually  in  the  form  of  small  plates,  to  hold  oil  and  a  pith  wick ; 
unglazed  plates  for  food  offerings ;  oviform,  long-necked  flasks  to  hold  the 
wine  offering ;  and  pottery  vessels  to  hold  the  incense  sticks.  Even  the 
effigy  of  Buddha,  or  Kwannon,  may  be  of  pottery  or  semi-porcelain.  For 
offerings  in  the  Shinto  temples,  unglazed,  hand-made  plates  are  used. 
These  are  often  made  by  one  of  the  priests  of  the  temple.  For  the  burn- 
ing of  incense  at  funerals  specially  formed  vessels  are  utilized.  The  cine- 
rary urns  for  the  poorer  classes  are  very  simple.  These  are  black,  unglazed, 
containing  a  small  wooden  box  to  hold  the  fragments  of  bone  and  teeth 
which  may  not  have  been  completely  reduced  to  ashes.  At  the  grave  large, 
unglazed  vessels  are  used,  in  which  to  burn  incense  and  to  offer  food.  The 
peculiar  gateway,  or  torii^  standing  in  front  of  the  temple,  which  may  be  of 
wood,  stone,  or  metal,  has  also  been  made  of  porcelain.  There  is  a  very 
large  one  of  porcelain  in  Hizen, 

Food-  Vessels 

Among  the  dishes  used  for  food  and  for  table  service  generally  a  great 
variety  of  very  interesting  and  beautiful  objects  are  seen.  Among  these 
are  covered  bowls  for  soup  and  rice.  A  wide,  low,  covered  bowl,  placed  in 
the  centre  of  the  dinner  tray,  is  used  to  hold  meat  or  broiled  fish ;  smaller 


INTRODUCTION  15 

dishes  for  pickles,  salted  plums,  etc.;  shallow  dishes,  sometimes  with  a 
small  receptacle  adherent  for  sauce  for  raw  fish ;  quaint  and  interesting 
forms  of  dishes  to  hold  cake  and  jelly;  and  small  globular  bottles,  with 
narrow  mouths,  are  for  sugar-plums,  which  may  be  shaken  out  one  by  one. 
There  are  deep,  narrow  cups  for  raw  fish  and  vinegar ;  similar  shaped  cups, 
though  larger,  for  hot  water  for  drinking  ;  and  vessels,  with  a  slight  depres- 
sion or  nose  on  the  rim,  are  used  to  hold  sauce  for  raw  fish  and  a  kind 
of  macaroni.  Three  little  pots,  with  a  tall,  cylindrical  one,  all  united,  take 
the  place  of  the  caster  for  pepper,  radish,  and  salt:  the  cylindrical  part 
accommodating  the  chopsticks  for  serving.  Large,  oblong  dishes  and  deep 
bowls  are  used  to  hold  rice  and  fishballs,  and  large  quantities  of  food  in 
general.  Pottery-rests  and  holders  for  chopsticks,  and  receptacles  for 
toothpicks,  are  also  seen. 

Heating 

A  number  of  vessels  come  in  use  for  the  holding  of  ashes  in  which  char- 
coal is  burned.  Globular  and  nearly  closed  devices  are  used  for  warming 
the  hands ;  open  vessels  are  brought  to  guests  for  the  same  purpose ;  and 
there  are  little  pottery  devices  containing  live  coals,  which  may  be  carried 
on  the  person.  Receptacles  fop  burning  incense,  and  braziers  for  cooking 
and  preparing  tea,  will  be  considered  under  other  heads. 

Illumination 

A  number  of  articles  made  of  pottery  are  used  for  illumination,  or,  per- 
haps one  might  say,  to  make  the  darkness  more  apparent.  Lamps  range 
all  the  way  from  a  shallow  saucer  to  hold  oil  and  a  pith  wick  to  well-con- 
structed lamps,  with  stand  and  handle  combined.  Pottery  candlesticks  of 
various  designs  are  seen,  and  also  covered  vessels  to  hold  the  snuffings, 
with  a  receptacle  for  metal  chopsticks  to  act  as  snuffers.  In  the  bottom  of 
the  large  lantern  which  stands  on  the  floor  a  shallow  plate  is  placed  to 
catch  the  drippings  from  the  lamp  or  candle. 

Tea-Making 

In  preparing  tea  in  the  ordinary  way,  that  is,  from  the  leaves,  quite  a 
number  of  vessels  are  demanded.  If  made  with  any  formality,  a  little 
lacquer  cabinet  is  provided  to  hold  the  tea-cups,  etc.  A  pottery  furnace  is 
used  upon  which  the  vessel  is  placed  to  boil  the  water,  and  an  object,  not 
unlike  a  small  tea-pot,  to  cool  the  water  to  the  proper  temperature  before 
making  the  infusion.     Contrary  to  our  dictum,  boiling  water  spoils  the  tea. 


i6  INTRODUCTION 

Little  tea-cups  are  used,  from  which  the  tea  is  drank  without  sugar  and 
without  cream,  and  by  the  time  the  tea  is  made  properly  and  served  it  is 
nearly  cold,  but  delicious.  Other  objects  come  into  play,  such  as  rests  for 
the  cup,  and  a  tea-jar,  though  for  ordinary  service  a  lacquer  box  is  used  or  a 
block-tin  canister.  A  special  form  of  bowl  is  used,  into  which  the  rinsings 
of  the  cup  are  poured ;  and  in  the  formal  serving  of  this  tea  other  objects 
find  a  place. 

The  Tea-Ceremony 

Tea  in  the  form  of  a  fine  powder,  to  which  boiling  hot  water  is  added 
and  briskly  stirred  with  a  bamboo  whisk,  is,  when  served  with  due  formal- 
ity, associated  with  a  number  of  intricate  rules,  according  to  the  school 
followed.  In  this  service  nearly  all  the  vessels  and  utensils  are  made  of 
pottery.  Among  the  objects  commonly  made  of  bamboo  or  metal,  pottery 
examples  may  be  found ;  even  the  shovel  for  ashes,  which  is  usually  of 
metal,  in  rare  instances  is  made  of  pottery.  The  collection  contains  an 
example.  The  tripod  upon  which  the  hot-water  kettle  rests  is  also  seen  in 
pottery. 

Space  will  not  permit  a  description  of  the  ceremonial  tea-party,  though 
the  origin  and  persistence  of  this  refined  oustom  has  had  a  most  profound 
influence  on  the  fictile  art  of  Japan.  The  tenets  have  insisted  on  repose  in 
form  and  decoration.  In  the  little  house  specially  made  for  the  service,  and 
in  the  approaches  to  it,  such  as  the  pathway,  gate,  fences,  etc.,  rusticity  is 
affected :  old  moss-covered  framework  to  the  wells ;  the  pathway,  in  winter, 
strewn  with  pine  needles ;  quaint  waterworn  rocks  brought  from  some  dis- 
tant mountain  brook.  In  the  densest  portions  of  the  commercial  city  of 
Tokyo  one  can  find  these  enchanting  spots. 

The  little  tea-jars  to  hold  the  powdered  tea  must  depend  upon  their  form 
and  glaze  for  their  attractive  features.  The  tea-bowls  are  often  of  irregular 
contour,  rarely  decorated ;  the  little  dishes  in  which  food  is  served  before 
the  tea  are  also  of  some  quaint  form,  and  dainty  always.  The  furnace  may 
consist  of  a  square  hole  in  the  floor,  metal-lined,  and  filled  with  ashes,  in 
which  the  burning  charcoal  is  partially  buried.  Often  the  furnace  is  a  large, 
thick,  unglazed  pottery  receptacle  standing  on  three  short  legs  (case  33). 
This  rests  on  a  square  tile  or  a  square  lacquered  board.  A  large  water-jar, 
with  lacquered  cover,  holds  the  water  to  replenish  the  iron  kettle..  A  quaint 
little  box  of  pottery  is  to  hold  incense,  which  is  often  put  on  the  coals  to 
give  fragrance  to  the  room.  A  rest  for  the  bamboo  dipper  may  be  of 
bamboo,  but  is  often  made  of  pottery.     A  vessel  into  which  the  water  is 


INTRODUCTION  17 

emptied  after  rinsing  the  bowl,  a  little  tube  to  hold  the  cloth  with  which 
the  bowl  is  wiped,  and,  in  some  forms,  a  long  pottery  tube,  with  broader 
base,  in  which  the  bamboo  dipper  may  stand,  handle  down,  in  a  most  un- 
balanced attitude,  are  also  seen.  These  and  many  other  devices  make  up 
the  paraphernalia  of  the  tea  ceremony.  The  tea  is  reduced  to  powder 
by  grinding  in  a  stone  handmill.  The  Ethnological  Museum  at  Leipzig 
possesses  a  pottery  mill.  Sometimes  a  pottery  mortar  and  pestle  are  used 
to  pulverize  the  leaves.  Such,  in  brief,  are  the  pottery  utensils  used  in  the 
tea  ceremony,  a  ceremony  which  has  not  only  profoundly  influenced  the 
pottery,  but  has  affected  the  character  of  the  house  and  garden  as  well. 
Perhaps  it  may  be  nearer  the  truth  to  say  that  those  whose  tastes  are  quiet 
and  refined  enough  to  enjoy  the  formal  drinking  of  tea,  with  its  easy, 
though  apparently  rigid  etiquette,  demand  cleanliness,  purity,  simplicity  in 
all  the  appointments  connected  with  the  service. 

Wine 

The  universal  wine  of  the  country,  used  everywhere  and  on  all  occasions, 
is  the  well-known  sake,  fermented  from  rice,  and  apparently  no  stronger 
than  German  beer.  This  wine  is  drank  hot  from  little,  shallow,  flaring  cups, 
usually  of  porcelain.  The  sake  is  served  from  bottles  simple  in  shape,  with 
gradually  tapering  neck.  These  'are  often  beautifully  decorated,  notably  the 
Satsuma  and  Kyoto  forms.  There  are  a  great  variety  of  sake  bottles,  some 
with  wide  bottoms  to  use  on  shipboard  or  at  picnics ;  others  with  a  bulbous 
expansion,  that  they  may  float  when  placed  in  hot  water ;  others  made 
tapering  to  a  point  below,  so  that  they  can  be  stuck  in  the  ashes.  Recep- 
tacles for  sake  are  made  with  large  areas  of  heating  surface,  or  a  vessel  may 
be  filled  with  hot  water,  with  accommodations  for  a  narrow  cylindrical  sake 
bottle.  Beside  the  usual  form  of  sake  cup,  there  is  one  made  in  the  form  of 
a  mask,  with  a  long  nose,  so  that  the  wine  must  be  drank  before  the  cup  is 
laid  down ;  others  are  made  in  the  form  of  a  bell  for  the  same  purpose.  A 
cup  is  made  with  a  hole  in  the  bottom,  over  which  the  finger  must  be 
placed ;  the  holder  is  forced  to  drink  the  liquor  at  once.  In  company,  a 
very  important  vessel  (the  haisen)  is  used  to  hold  cold  water,  in  which  the 
guest  first  rinses  his  cup  before  passing  to  another  with  whom  he  wishes  to 
drink.  Little  cups  are  seen  which  are  tied  to  the  girdle  and  used  in  travel- 
ing. Three  cups  of  varying  sizes,  resting  one  upon  another,  are  used  in 
the  marriage  ceremony. 


z8  INTRODUCTION 

Smoking 

A  few  pottery  utensils  come  in  play  for  the  use  of  the  smoker.  Jars 
for  tobacco  and  long,  deep  tubes,  usually  of  bamboo,  are  also  rarely  made 
of  pottery.  These  are  to  knock  the  ashes  in  and  to  serve  as  a  hand  cus- 
pidor. A  pottery  vessel  filled  with  ashes  to  hold  a  live  coal  for  the  lighting 
of  pipes  is  handed  to  a  visitor  as  one  of  the  first  acts  of  hospitality  after  the 
customary  salutation.  The  universal  form  of  pipe  consists  of  a  metal  bowl 
and  mouthpiece  with  bamboo  stem.  The  collection  contains  an  entire 
pipe  made  of  pottery.  The  Ethnological  Museum  at  Hamburg  has  a  pipe 
in  which  the  bowl  and  mouthpiece  are  made  of  porcelain. 

Writing-  Table 

The  love  of  poetry  and  verse  which  strongly  characterizes  the  Japanese 
lends  an  additional  charm  to  the  writing-table  and  the  objects  that  are  used 
upon  it.  Many  of  these  are  made  of  pottery,  and  skill,  ingenuity,  and  taste 
are  displayed  in  their  making.  The  ink-stone,  though  usually  of  stone,  is 
sometimes  seen  in  pottery ;  an  old  roofing-tile  may  be  utilized  for  that  pur- 
pose. The  rest  for  brushes  assumes  a  variety  of  shapes,  as,  for  example, 
three  swans  grouped  together,  or  cocks  of  grain,  or  a  row  of  children,  or  a 
simple  notched  ridge.  The  vessel  for  water  for  the  ink-stone  is  made  in 
the  form  of  some  household  deity  or  mythological  animal.  A  rest  for  the 
stick  of  ink  is  made  of  pottery ;  a  little  pottery  screen  is  provided  to  stand 
up  in  front  of  the  ink-stone  to  catch  any  drops  of  ink  that  may  be  spattered 
in  rubbing.  Pottery  paper-weights  are  not  uncommon :  these  may  be  in 
the  form  of  a  tortoise,  or  a  flat  bar  with  moulded  objects  upon  it.  A  special 
holder  is  made  for  the  red  ink  used  in  correcting  manuscript.  The  collec- 
tion contains  a  writing-box  with  partitions,  stone  and  brush  handles,  etc.,  all 
made  of  pottery.     The  bell  to  call  the  servant  is  sometimes  of  porcelain. 

Artists   Materials 

The  artist  in  mixing  colors  requires  low,  shallow  plates,  peculiarly  shaped 
objects  for  the  holding  and  cleansing  of  brushes,  and  vessels  for  water,  etc. 
In  drawing  Chinese  characters  of  large  size,  a  quantity  of  ink  is  prepared, 
and  special  vessels  are  used  for  this  purpose. 

Flowers 

With  the  Japanese  the  love  for  flowers  is  a  leading  characteristic.  A 
great  variety  of  objects  is  made  for  their  display.  Among  these  are  stand- 
ing  flower  -  vases,   rough,  heavy,  and   massive,  in  which    the   flowers,  by 


INTRODUCTION  19 

contrast,  look  exceedingly  beautiful ;  hanging  flower-holders  of  an  infinite 
variety  of  design ;  quaint  little  receptacles  just  big  enough  to  hold  one 
flower.  These  may  be  placed  on  the  writing-table  or  shelf  in  the  room. 
Hanging,  boat-shaped  vessels,  or  two  square-shaped  buckets  suspended 
from  a  wheel,  as  well  as  large,  heavy  trays,  are  also  made  for  flowers.  The 
flower-pots  are  often  of  blue  and  white  porcelain  or  celadon  glaze.  These 
are  very  ornamental. 

Incense- Burners 

The  burning  of  incense  sticks  or  little  bits  of  incense  takes  place  on 
many  occasions :  in  the  tea  ceremony,  before  the  household  shrine,  on  the 
presence  of  a  guest,  and  at  the  grave.  There  are  many  forms  of  incense- 
burners,  —  some  made  in  the  shape  of  an  animal,  the  smoke  finding  egress 
through  its  mouth  and  eyes ;  others  in  the  form  of  a  house,  the  smoke 
coming  out  of  the  openings  in  the  ends  of  the  ridge ;  or  the  vessel  may  be 
in  the  form  of  a  bronze  incense-burner,  the  glaze  made  to  resemble  copper. 

Incense-Boxes 

The  exuberance  of  the  Japanese  potter  is  most  fully  displayed  in  the 
boxes  to  hold  incense.  Here  the  coquetries  and  conceits,  the  unexpected- 
nesses and  surprises,  in  the  words  of  Jarves,  find  the  fullest  expression. 
Mammals,  birds,  fishes,  insects,  mythological  objects,  fruits  and  flowers,  and 
every  conceivable  object,  even  mountains  and  waterfalls,  are  all  rendered  in 
pottery  for  this  service. 

Ornamental  Objects 

Under  this  head  may  be  placed  pottery  figures  in  the  shape  of  some 
mythological  animal  or  household  deity,  which  is  placed  in  the  recess 
below  the  hanging  picture  or  kakemono.  This  kind  of  picture  rolls  up  like 
a  map  when  not  in  use,  and  the  stick  upon  which  it  rolls  may  sometimes 
have  pottery  or  porcelain  knobs.  Curious-shaped  objects,  usually  of  metal, 
but  sometimes  of  pottery,  are  used  to  hang  on  these  knobs  to  straighten 
the  picture.  A  rare  but  ingenious  contrivance  in  pottery,  in  which  an 
open  fan  is  displayed,  is  made  to  hang  on  some  upright  post  in  the  room ; 
a  circular  disk  of  pottery,  with  the  characters  for  large  and  small  on 
opposite  sides,  is  to  remind  one  of  the  greater  or  less  number  of  days  in 
a  month.  Cages  to  hold  musical  insects  are  sometimes  seen  in  porcelain ; 
large,  deep  vessels  are  provided  in  which  rock-work  is  built  and  goldfish 
are  kept ;  little  pottery  cups  with  loops  are  used  to  hold  bird-seed. 


ao  INTRODUCTION 

Objects  worn  on  the  Body 

A  little  contrivance,  usually  of  metal,  to  hold  ink  and  a  brush,  which  is 
worn  on  the  girdle,  is  rarely  seen  in  pottery.  Lawyers  and  doctors  were  in 
former  times  permitted  to  wear  a  wooden  or  ivory  apology  for  a  sword. 
This  device  was  carved  in  the  form  of  a  fish  or  some  other  quaint  object. 
The  collection  contains  one  made  of  pottery.  An  inro,  which  is  almost 
universally  seen  in  lacquer,  is  occasionally  found  made  of  pottery  or  porce- 
lain. Netsuke,  usually  made  of  wood,  ivory,  metal,  or  stone,  and  beads, 
usually  of  metal,  are  also  made  of  pottery.  Even  hairpins  are  sometimes 
made  of  pottery  or  of  white  porcelain,  wrought  in  the  shape  of  plum  blos- 
soms. The  collection  contains  a  pottery  mask,  probably  to  be  used  on  an 
effigy  of  some  kind. 

Decorative  Material 

Pottery  in  various  forms  is  used  in  decoration.  Porcelain  panels  are 
used  in  cabinets.  The  famous  lacquer  artist,  Ritsu-o,  introduced  soft  pot- 
tery as  well  as  other  materials  in  the  decoration  of  his  work,  and  artists 
following  Ritsu-o's  methods  have  made  decorative  panels  in  which  pottery, 
pearl,  and  lead  were  utilized  in  this  way. 

Toilet-Table 

.  A  number  of  pottery  articles  are  used  on  the  toilet-table,  —  boxes  to  hold 

white  powder,  and  special  vessels  to  hold  the  water  for  mixing ;  saucers  for 
a  rouge-like  paint ;  low,  wide  bottles  with  narrow  mouths  to  hold  oil  of  the 
seeds  of  camellia.  Besides  these  one  may  find  jars  and  other  vessels  used 
in  the  blackening  of  teeth. 

Gaines  and  Toys 

Chess-boards  of  hard  pottery  are  seen,  with  chessmen  of  porcelain,  and 
an  infinite  variety  of  toys  in  pottery,  such  as  globular  bells,  little  figures 
of  various  kinds,  and  all  the  paraphernalia  of  the  miniature  gardens  the 
Japanese  are  so  fond  of  constructing  in  trays  of  sand.  Among  objects  for 
this  purpose  are  summer  houses,  bridges,  fences,  stone  lanterns,  figures, 
and  miniature  trees. 

Fencers  have  tied  to  the  tops  of  their  hoods  a  little  fragile  pottery  plate 
which  breaks  at  the  slightest  blow. 

Gardens 
At  the  end  of  the  veranda  there  is  a  receptacle  for  water,  near  which 


INTRODUCTION  21 

hangs  a  towel.  This  receptacle  may  be  of  iron  or  stone,  though  large 
pottery  vessels  are  often  seen.  The  stone  lanterns  which  decorate  a  gar- 
den are  sometimes  made  of  pottery.  Square  tiles  are  sometimes  used  in 
the  paths.  These  I  saw  specially  in  the  gardens  of  potters  in  Kyoto.  The 
collection  contains  a  large  well-wheel  of  pottery,  presented  by  Mr.  S.  Bing, 
of  Paris.  Pottery  or  porcelain  garden  stools,  after  Chinese  fashion,  are  not 
uncommon. 

Medicine 

Under  this  head  may  be  classed  pottery  vessels  made  for  distilling. 
Little  jars  used  for  carbonizing  frogs,  rabbits'  skulls,  etc.,  after  the  Chinese 
pharmacopoeia  (already  doomed  in  Japan),  are  made  of  pottery.  A  long- 
nosed  cup  from  which  to  pour  medicine,  mortars  for  grinding  substances, 
and  objects  to  be  worn  on  the  person,  such  as  neisuke,  or  inro  to  hold 
powders  or  pills,  are  not  uncommon. 

Pottery-making 

The  art  of  the  potter  brings  in  a  number  of  pottery  utensils.  At  the 
outset  the  muffles  are  of  pottery ;  oven  shelves,  spurs,  and  seggars  are  all 
of  pottery.  Large  jars  for  lixiviation  and  various  other  vessels  are  used  in 
the  potteries. 

Miscellaneous 

In  the  shops  one  sees  a  great  number  of  objects  in  the  shape  of  bottles, 
boxes,  and  jars  for  the  holding  of  various  extracts,  preserves,  cordials,  sweet 
wines,  etc.,  pottery  taking  the  place  of  glass  for  these  purposes. 

The  metallurgist  uses  crucibles  of  pottery  for  the  melting  of  metals,  the 
accidental  oxidations  of  which  have,  in  past  times,  given  a  hint  for  new 
glazes,  and  the  colored  residuum  often  left  in  the  bottom  of  the  crucible 
the  suggestion  of  various  alloys  for  the  inlaying  of  their  metal  work. 

The  farmers  use  a  heavy  jar  in  which  to  sprout  seed.  Along  the  streets 
large  water-jars  are  seen  for  the  convenience  of  street  sprinkling  and  for 
fire  precautions. 

The  objects  thus  far  mentioned  do  not  by  any  means  include  all  the 
devices  made  in  pottery.  No  record  has  been  made  of  the  pottery  utensils 
used  by  the  inkmaker,  the  lacquerer,  and  those  seen  in  other  trades  and 
occupations;  sufificient  examples,  however,  have  been  cited  to  show  the 
infinite  variety  of  uses  to  which  pottery  is  applied  in  Japan. 


22  .  INTRODUCTION 

Explanatory  Notes 

A  few  terms  are  used  in  this  catalogue  which  require  an  explanation.  In 
designating  the  names  of  objects  English  names  have  been  used  in  every 
case,  with  one  exception.  This  is  a  vessel  to  hold  cold  water,  in  which  a 
Japanese  first  rinses  his  winecup  before  proffering  it  to  a  guest  with  whom 
he  wishes  to  drink.  The  vessel  is  known  as  a  haisen,  and  as  there  is  no 
English  equivalent,  either  of  vessel  or  ceremony,  the  name  "  haisen  "  will 
be  retained.  The  Japanese  have  a  kind  of  bowl  with  a  slight  spout  on  the 
rim.  This  is  generally  used  for  holding  sauce,  and  is  known  as  katakuchi 
(side  mouth).  The  term  "  beaker "  is  used  for  this  form  of  vessel.  As 
nearly  all  the  Japanese  pottery  is  crazed  or  crackled,  this  word  will  not  be 
repeated  in  the  descriptions  unless  the  crackle  is  very  coarse,  or  very  fine, 
or  has  some  peculiarity.  The  absence  of  crackle  will  be  mentioned  when 
necessary.  As  the  larger  number  of  tea-jars  have  a  mark  on  the  bottom 
(made  by  the  cord  in  separating  the  object  from  the  wheel)  known  as  a 
thread-mark,  and  as  this  mark  is  generally  a  right-handed  thread-mark, 
except  in  the  Satsuma  tea-jars  and  some  others,  this  feature  will  be  under- 
stood as  right-handed  unless  otherwise  mentioned.  Transparent  glaze  is 
one  that  gives  the  same  coloring  to  the  clay  that  water  might  give.  The 
Japanese  speak  of  this  glaze  as  water  glaze.  The  word  Kochi  is  not  used 
in  the  catalogue,  though  it  is  a  very  common  term  with  the  Japanese.  Red, 
yellow,  green,  and  purple  glazes,  either  separate  or  intermixed,  as  well  as  a 
rough  decoration  in  red  and  green  on  a  white  ground,  are  called  by  the 
generic  name  of  Kochi,  These  kinds  are  supposed  to  be  derived  from 
Cochin  China  or  in  imitation  of  Cochin  China  pottery.  An  opportunity 
was  afforded  me  of  examining  a  large  collection  of  pottery  near  the  town  of 
Cholon  in  Anam.  The  pottery  had  been  brought  from  Cochin  China.  In 
the  entire  collection  I  saw  no  suggestion  in  the  glaze  or  decoration  at  all 
resembling  what  the  Japanese  know  as  Kochi ;  on  the  other  hand  I  did  see 
in  a  town  north  of  Canton  pottery  glazes  which  might  very  well  have  been 
the  origin  of  the  Japanese  Kochi. 

In  the  arrangement  of  the  pottery  in  the  cases  a  concession  has  been 
made  to  the  nature  of  this  Institution,  which  is  first  of  all  a  Museum  of 
Fine  Arts.  A  compromise  has  therefore  been  effected  by  which  the 
unique  and  more  beautiful  objects  of  a  family  of  potters  have  been  arranged 
"  on  the  line,"  so  to  speak.  Had  this  not  been  done,  the  work  of  some  of 
the  greatest  potters  would  have  come  either  on  the  lowest  or  on  the 
highest  shelves,  where  the  objects  could  not  have  been  seen  to  advantage. 


INTRODUCTION  23 

This  is  true  also  of  the  serial  arrangement  of  the  Provinces,  the  sequence 
being  purely  arbitrary. 

The  absence  of  numbers  in  sequence  or  numbers  marked  with  an 
asterisk  indicate  that  the  objects  are  not  exhibited  for  want  of  room  and 
for  other  reasons.  Many  are  important  to  the  collection  in  showing,  for 
example,  the  degradation  of  certain  families  of  potters  or  some  collateral 
branch  or  other  feature,  and  many  have  no  artistic  merit.  Special  students 
may  have  access  to  these  by  applying  to  the  Keeper  of  Japanese  Pottery. 

As  before  mentioned,  Ninagawa  Noritane  began  the  publication  of  the 
work  entitled  Kwan  Ko  Dzu  Setsu  in  1876.^  This  work  had  the  general 
title  of  Japanese  Arts  and  Industries.  The  work  on  Japanese  Pottery 
consisted  of  seven  parts,  and  a  number  of  unpublished  plates  and  drawings 
which  would  have  formed  Part  VIII.  had  he  lived.  In  this  series  a  part 
was  published  on  the  various  gateways  of  the  castle  of  Yedo,  illustrated  by 
small  photographs;  plates  had  been  made  for  a  part  on  ancient  roofing 
tiles;  and  drawings  had  been  prepared  for  a  part  on  Japanese  armor. 
Ninagawa's  untimely  death  in  1882  prevented  the  completion  of  this  work. 
The  seven  parts  on  pottery  were  illustrated  by  lithographic  plates  colored 
by  hand.  The  collection  possesses  many  of  the  originals  figured  in  this 
work.  Of  Part  I.,  of  which  many  of  the  figures  were  copies  from  drawings, 
the  collection  has  none;  of  Part  II.  it  has  twenty-one  out  of  twenty-three; 
of  Part  III.  it  has  thirty  out  of  thirty-two;  of  Part  IV.  it  has  thirty-three 
out  of  thirty-six ;  of  Part  V.  it  has  all  the  objects  figured,  numbering  thirty ; 
of  Part  VI.  it  has  eleven  out  of  thirty-five ;  of  Part  VII.  it  has  ten  out  of 
thirty-one ;  and  of  the  objects  figured  on  plates  and  drawings  prepared  for 
Part  VIII.,  but  unpublished,  it  has  fifteen  out  of  twenty-two.  The  collec- 
tion thus  possesses  one  hundred  and  fifty  of  the  originals  of  Ninagawa's 
great  work.  Of  the  remaining  fifty-two  objects  figured  in  the  published 
work  the  British  Museum  possesses  nine,  and  a  few  of  the  remaining  ones 
are  in  the  private  collections  of  Thomas  E.  Waggaman,  Esq.,  of  Washing- 
ton ;  William  Anderson,  Esq.,  of  London ;  and  Thomas  Allen,  Esq.,  of 
Boston.  The  rarest  and  most  important  pieces  figured  by  Ninagawa  are  in 
Parts  II.,  III.,  IV.,  and  V.  Of  the  one  hundred  and  twenty-one  figured  in 
these  parts  the  collection  possesses  all  but  seven.  In  this  catalogue  the 
originals  are  designated  as  Type  Ninagawa,  etc. 

In  order  to  render  complete  the  historical  development  of  Japanese 
pottery  a  small  collection  of  the  softer  pottery  of  China,  Cochin  China,  and 
Anam  should  be  formed  to  illustrate  the  origin  of  certain  types  of  pottery 

1  Part  I.,  1876  ;  Parts  II.,  III.,  IV.,  and  V.,  1877 ;  Part  VI.,  1879;  Part  VII.,  1880. 


24  INTRODUCTION 

and  methods  of  glazing  and  decoration  which  have  been  derived  from  these 
countries.  The  Japanese  fully  acknowledge  their  indebtedness,  as  shown 
by  such  terms  as  K5chi  (Cochin  China),  Shina  (China),  Nankin  (vulgate 
for  China),  applied  to  certain  kinds  of  pottery.  The  remarkable  Chinese 
bowls,  known  as  Temmoku,  which  the  Japanese  have  never  been  able  to 
imitate,  the  Chinese  celadon,  many  forms  of  Chinese  porcelain,  the  rough 
red  and  green  over  decoration  known  as  Kochi,  Nankin  yellow,  red  and 
gold  tortoise-shell  glaze,  pottery  known  as  Boccaro,  and  many  others,  are 
all  copies  of  Chinese  models.  A  nucleus  has  already  been  made  for  such 
a  collection,  though  from  the  scarcity  of  this  material  it  will  be  difficult  to 
do  more  than  gather  a  few  typical  forms. 

In  the  spelling  of  geographical  names  I  have  followed  the  valuable 
Dictionary  of  the  Principal  Roads,  Chief  Towns,  etc.,  of  fapan,  by  W.  N. 
Whitney,  M.  D. ;  hence,  Izumo  for  Idzumo,  Kozuke  for  Kodzuke,  Kyoto  for 
Kioto,  Tokyo  for  Tokio,  etc. 

I  have  also  found  Ancien  fapon,  by  Professor  G,  Appert  and  Mr.  H. 
Kinoshita ;  Handbook  for  Central  and  Nortliern  fapan,  by  Sir  Ernest  M. 
Satow  and  Lieut.  A.  G.  S.  Hawes ;  and  A  Handbook  for  Travellers  in 
fapan,  by  Professor  Basil  Hall  Chamberlain  and  W.  B,  Mason,  useful 
works  of  reference. 


THE   CATALOGUE 

KOREAN    POTTERY 


The  Japanese  give  the  fullest  credit  to  Korea  for  many  influences 
derived  from  Korean  potters  in  past  times.  For  this  reason  a  small  col- 
lection of  Korean  pottery  has  been  brought  together  to  show  in  a  measure 
what  the  Japanese  really  owe  to  Korea.  The  hard,  lathe-turned,  unglazed 
mortuary  pottery  of  a  thousand  years  ago  has  been  derived  outright  from 
Korea.  The  Japanese  identify  specimens  dug  up  in  Japan  as  Korean. 
From  the  wide  distribution  of  this  pottery  in  Japan,  and  its  abundance  as 
seen  in  the  fragments  along  the  roadways,  I  am  convinced  that  it  was  made 
in  Japan,  but  by  Korean  potters.  I  am  forced  to  this  conclusion  by  the 
absolute  identity  in  clay,  form,  decoration,  and  purpose. 

In  Korea  as  in  Japan  this  hard,  lathe-turned  pottery  is  associated  with 
a  hand-made  pottery  of  light,  sandy  clay,  either  red  or  yellowish  in  color. 
Korean  potters  came  to  Japan  at  various  times,  centuries  before  they  were 
compelled  to  by  Hideyoshi  and  his  generals,  and  followed  the  vocation  of 
making  mortuary  vessels  as  well  as  pottery  for  domestic  use.  Provincial 
history  records  the  coming  of  Korean  potters  to  various  southern  provinces, 
notably  Hizen,  Satsuma,  Higo,  Suo,  and  Buzen,  and  even  as  far  north  as 
Musashi.  A  peculiar  style  of  decoration  consists  of  impressed  or  incised 
figures,  usually  in  the  form  of  stars,  rosettes,  circles,  lines,  etc.,  which  being 
filled  with  white  clay,  rarely  black,  give  a  simple  and  enduring  decoration 
under  the  glaze.  The  Japanese  call  this  style  Mishima,  and  it  is  directly 
traceable  to  Korea.  I  have  elsewhere  shown  that  wherever  Korean  potters 
settled  in  Japan  the  Mishima  style  of  decoration  is  seen.  This  form  was 
undoubtedly  an  outgrowth  of  the  incised  decoration  found  on  the  mortuary 
pottery.  Roughly  cut  notches  in  the  basal  ring  of  bowls  are  said  to  be  of 
Korean  origin. 

Aside  from  the  above-mentioned  features,  unless  we  add  the  deep_olive- 
green  glazes  of  early  Satsuma  and  the  discovery  of  white  clay  in  Osumi 
by  Korean  potters,  and  possibly  the  early  Raku  glaze,  I  am  not  aware  of 


a6  THE  CATALOGUE 

any  feature  in  Japanese  pottery  worthy  of  note  th'at  is  traceable  to  Korean 
influence.  The  Kwannon  and  other  forms  in  a  hard,  ivory-white  glaze, 
commonly  attributed  to  Korea,  are  probably  Chinese.  The  jars,  and  rarely 
figures  and  plates,  in  a  cream-white  glaze,  with  a  rough  decoration  in  rich 
brown,  which  the  Japanese  invariably  designate  as  Korean,  are  regarded  by 
Dr.  F.  Hirth,  of  Pekin  (with  whom  I  had  the  opportunity  of  discussing  the 
matter  in  Berlin),  as  unquestionably  Chinese.  Indeed,  the  more  one  studies 
authentic  specimens  of  Korean  pottery  the  more  impressed  he  becomes 
that,  with  the  exception  of  the  above-mentioned  features,  Korea  gave  to 
Japan  nothing  beyond  a  number  of  industrious  potters,  who,  in  early 
centuries,  brought  the  lathe-turned  mortuary  pottery,  and  later  the  Mishima 
decoration  which  the  Japanese  rapidly  converted  into  a  highly  artistic 
form. 

It  is  to  China  that  the  Japanese,  as  well  as  all  other  nations,  are 
indebted  for  many  of  the  methods  of  work  and  styles  of  decoration  in  por- 
celain and  pottery.  Toshiro  went  to  China  in  the  twelfth  century,  Goro- 
dayu  Shonsui  in  the  fifteenth  century,  and  Gempin  is  said  to  have  been  a 
Chinese  fugitive  and  not  a  Korean.  Korea  was  continually  receiving,  by 
way  of  her  inland  sea  and  Manchuria,  pottery  and  porcelain  from  China, 
and  these,  readily  finding  their  way  to  Japan  from  Korea,  were  naturally 
believed  to  be  Korean  products. 

The  following  ascribed  dates  to  Korean  examples  have  but  little  value. 
Interviews  with  a  number  of  intelligent  Korean  officials  connected  with  the 
embassy  in  Japan  failed  to  shed  any  light  on  the  question.  I  could  not 
find  that  any  interest  attached  to  the  subject  of  antiquities.  After  pressing 
an  old  Korean  official  for  some  information  in  regard  to  these  matters, 
he  answered,  somewhat  pathetically,  "  We  are  the  only  antiquities  left  in 
Korea ! " 

MORTUARY   POTTERY  (hard,  gray,  lathe-turned)  (Case  i) 

The  small  collection  of  mortuary  pottery  was  selected  from  a  larger  collection 
made  by  Pierre  Louis  Jouy  in  Korea.  These  objects  were  found  in  burial  mounds 
in  Torai,  Urasan,  and  Taiku,  north  and  west  of  Fusan,  on  the  eastern  side  of  the 
Korean  peninsula.  The  United  States  National  Museum  also  possesses  a  selection 
from  the  same  collection,  and  in  a  description  of  it  by  Mr.  Jouy,  published  by  the 
National  Museum,  he  says,  "  Korea  is  one  vast  graveyard ;  burial  mounds  and  monu- 
ments, of  varying  age  and  rich  in  archjeological  interest,  are  a  prominent  feature  of  the 
landscape.  Although  a  tolerably  thickly  populated  country,  there  are  many  sections 
where  the  cemeteries  occupy  a  quarter  as  much  space  as  that  used  for  agricultural 
purposes."     Associated  with  this  pottery  were  "  rings  of  copper  heavily  gilded,  parts 


KOREAN  POTTERY  27 

of  horse  trappings,  such  as  buckles,  and  other  ornaments  and  objects  of  stone."  The 
vessels  are  made  of  hard,  gray  clay,  in  most  cases  turned  on  a  wheel,  unglazed,  though 
in  some  specimens  the  surface  has  been  vitrified  by  the  heat.  The  ornamentation  con- 
sists of  sharply  raised  bands,  wavy  marks  made  by  a  comb,  and  lines  incised,  impres- 
sions made  by  a  wooden  block  on  which  have  been  cut  grooves  at  right  angles  or  in 
circles,  and,  more  rarely,  an  impression  of  a  tube  leaving  deep  circles.  The  vessels 
show  no  signs  of  use,  and  are  in  such  forms  as  to  indicate  that  they  were  vessels  of 
offering  for  food,  wine,  and  flowers.  In  another  type  the  vessels  may  be  lathe-turned 
or  modeled  by  hand  ;  the  clay  is  soft,  light  red,  or  yellowish,  and  the  pieces  are  small. 
In  Japan  also  the  two  types  occur  together  associated  with  similar  relics,  and  the 
absolute  identity  in  clay,  form,  method,  and  purpose  show  conclusively  a  common 
origin,  the  Japanese  forms  having  been  made  on  Japanese  soil,  and  at  the  outset,  at 
least,  by  Korean  potters.     Their  age  is  probably  twelve  hundred  years. 

1.  Round  JAR,  with  definite  shoulder  and  neck.  D.  iij  in.  H.  ii|  in.  Hard,  light  gray 
clay,  ornamented  with  three  bead-like  mouldings,  upon  each  side  of  which  are  bands  of 
incised  wave  lines.     Low  basal  ring  with  seven  square  perforations. 

2.  Similar  to  last.     D.  gj  in.     H.  12  in. 

3.  Globular  jar,  with  short  neck.  D.  ii|  in.  H.  12  in.  Supported  on  a  high,  elon- 
gated, bell-shaped  stand.  H.  13J  in.  D.  at  base  10^  in.  Stand  with  seven  rows  of 
long,  square  perforations,  four  in  a  row,  alternating.  Jar  and  stand  ornamented  with  encir- 
cling beads  and  wavy  comb  lines. 

4-  Flaring  bowl,  on  high  support,  perforated  with  square  holes.  D.  12  in.  H.  gf  in. 
Ornamentation  same  as  last. 

The  above  objects  are  on  top  of  Case  i. 

5*.     Globular  jar,  on  perforated  support.     D.  8J  in.     H.  9J  in. 

6*.    Globular  jar,  with  cylindrical  neck.     D.  6J  in.     H.  8|  in. 

7-  Bowl,  with  high  support.  D.  gf  in.  H.  7I  in.  Support  with  angular  perforations  in 
two  series  alternating.  Bowl  with  four  heavy  ribs,  between  which  a  band  of  incised  lines  in 
basket  pattern,  and  just  below  a  zone  of  dots  in  vertical  lines  impressed. 

8.    Lenticular  bottle,  with  looped  handles.     H.  8J  in.    Gray  clay  with  reddish  areas, 

roughly  potted. 

9-  Globular  JAR.  D.  7^  in.  H.  7J  in.  Just  below  rim  two  circular  perforations  on  oppo- 
site sides,  eighteen  encircling  lines  extending  to  lower  half  of  body,  between  which  are 
vertical  incised  lines.  The  body  has  been  combed  in  a  nearly  vertical  manner,  and  the 
eighteen  encircling  lines  have  been  ruled  over  the  vertical  lines.  Lower  half  combed  with 
lines  at  various  angles. 

10,  II.    Globular  jars,  with  somewhat  long,  flaring  necks. 

12.     Mug,  with  looped  handle.     D.  a,\  in.     H.  4J  in. 

13'    Globular  jar,  with  looped  handle  and  perforated  support.     D.  35  in.     H.  \\  in. 


28  Tff£   CATALOGUE 

I4>  Body,  consisting  of  hollow  tube  supporting  three  cup-shaped  receptacles  opening  into 
tube  support  (absent)  with  four  square  perforations. 

15-     Shallow  cup,  with  looped  handle-support  with  wide  perforations.    D.  4I  in.    H.  3^  in. 

16.  Globular  jar,  with  flaring  neck.  D.  4I  in.  H.  4J  in.  Decoration  of  bands  and  wavy 
comb-marks.     On  one  side  of  body  large,  round  perforation. 

An  identical  form  from  Japan  has  been  figured  by  Ninagawa. 

17—44  inclusive,  are  smaller  objects  in  the  form  of  tazzas,  jars,  bottles,  covered  vessels, 
cups,  etc.,  of  similar  pottery. 
Of  these  36  to  44  are  below. 

MORTUARY   POTTERY  (hand-made)   (Case  i) 

Associated  with  the  above  pottery  are  found  smaller  vessels,  usually  moulded  by 
hand,  of  a  loose  light  reddish  and  sandy  clay.  This  pottery  may  be  of  a  sacerdotal 
nature.     A  similar  association  is  found  in  Japan. 

45-  BowL-SHAPED  JAR,  with  constrictcd  opening.  D.  3^  in.  H.  2%  in.  Coarse,  sandy 
light  yellowish  clay.     Strong  spiral  lines  on  bottom  of  vessel. 

46,  47.     Similar  to  last. 

48,  49-     Knobbed  covers. 

50.  Perforated  disk  (possibly  spindle  whorl).    D.  if  in.  S* 

51,  52.  Clay  objects,  in  form  of  pagoda,  used  as  votive  offerings.  H.  2^f  in.  Sandy, 
light  red  clay,  made  in  moulds  of  two  halves.  Base  perforated.  On  one,  obscure  char- 
acter in  relief. 

Identical  objects  are  dug  up  in  Yamato. 

EARLY   GLAZED   POTTERY    (Case  i) 

53-  Vessel,  with  nozzle.  D.  4J  in.  Hard  gray  clay,  glaze  strongly  crackled.  Border  of 
cranes  and  stars  in  black  and  white  Mishima.  iioo 

54*  Flaring  bowl.  D.  6J  in.  Reddish  clay,  dull  greenish  glaze.  Five  sanded  spur- 
marks  inside  and  out. 

55-     Shallow  saucer.     D.  4  in.     Light  fawn  clay,  thick  yellowish  glaze.    Base  unglazed. 
56.     Shallow  dish,  with  thickened  rim.     D.  a,\  in.     Hard  clay,  greenish  celadon  glaze, 
finely  crackled,  sand  adhering  below.     Roughly  potted. 

The  last  four  objects  were  dug  from  graves  near  Chemulpo,  and  are  probably  eleven 
hundred  years  old. 

56a.  Shallow  bowl.  D.  6J  in.  Coarse  dark  clay,  rudely  mixed,  dark  grayish  glaze  with 
large  bubble-like  blisters,  one  of  which,  on  the  inside  of  the  bowl,  has  broken  away.  Out- 
side four  encircling  lines  in  two  bands,  beneath  which  are  disposed  at  three  equidistant 
points  a  radiating  figure  inclosed  in  a  double  circle.  Within  are  similar  encircling  lines 
disposed  in  the  same  way,  with  a  conventional  flower  impressed  at  four  equidistant  points, 
the  radiating  wheel-like  flower  being  made  by  one  stamp,  the  leaves  by  another,  while  the 
stem  is  incised.  The  bottom  is  very  rough,  and  has  adhering  to  it  coarse  sand  upon  which 
the  vessel  rested  in  the  oven. 


KOREAN  POTTERY  39 

Loaned  by  Percival  Lowell,  Esq. 

A  gift  from  the  King  of  Korea  to  Mr.  Lowell  during  his  visit  to  Korea,  when  he  was 
appointed  Foreign  Secretary  to  the  first  Korean  Embassy  to  the  United  States. 


SONG-DO   POTTERY    (Case  i) 

The  following  pieces  (Cat.  Nos.  57  to  6y)  were  purchased  from  a  Korean  official  in 
SoUl  in  1885  by  an  officer  of  the  United  States  Navy.  The  Korean  official  had 
obtained  them  from  a  Korean  of  Song-do,  in  whose  family  they  had  been  for  many 
years.  An  ancestor  had  dug  them  from  the  ruins  of  the  ancient  royal  palace  in  Song-do 
from  a  part  of  the  site  which  he  owned.  Song-do  was  the  Korean  capital  for  about 
eight  himdred  years  prior  to  five  hundred  years  ago.  The  Koreans  regarded  the 
pottery  as  about  eight  hundred  years  old.  I  have  given  a  more  conservative  estimate 
by  indicating  an  age  of  six  hundred  years,  though  it  might  be  safe  to  adjudge  it  of 
a  later  date.  The  character  of  the  work  is  so  unlike  Korean  Mishima  that  one  might 
be  justified  in  regarding  it  as  of  Chinese  origin,  and  suggesting  the  idea  that  the 
Korean  Mishima  was  derived  from  the  same  source.  The  clay  is  hard  and  ringing, 
and  the  glaze  is  a  grayish  or  greenish  celadon.  The  Mishima  designs  are  in  white 
and  black. 

57*  Vase.  H.  14I  in.  Swelling  body,  tapering  gracefully  to  a  narrow  base.  Opening 
small,  neck  short  and  constricted,  with  definite  rim.  Clay  fawn-colored,  hard,  and  fine ; 
thick  greenish  celadon  glaze,  brownish  area  closely  crackled.  Decoration  of  cloud  and 
crane  in  black  and  white  Mishima.     Base  uneven.  1200 

58.     Vase.     H.  io|  in.     Similar  in  form  to  last.     Decoration  of  flowers  and  cranes,  with 
band  of  oblique  fretwork  about  neck  and  base,  with  scalloped  design  on  shoulder. 
All  in  black  and  white  Mishima.     Mark  incised  and  obscure.  1200 


58 


59*  Shallow  dish.  D.  •j\  in.  Hard  reddish  clay,  greenish  celadon  glaze 
coarsely  crackled.  Inside,  design  of  leaves  in  slight  relief.  Three  small  spur- 
marks.  1200 

DO.  Oviform  water-vessel,  with  nozzle  and  delicate  looped  handle.  H.  7  in.  Hard 
light  reddish  clay,  greenish  celadon  glaze.  Constricted  neck  with  low  cover.  On  each  side 
large  circular  panels ;  in  one,  floral  design ;  in  the  other,  willow ;  on  front,  cloud,  all  incised. 
Handle  and  nozzle  spring  from  deeply  incised  escutcheon  design.  Handle  ribbed  and 
having  above  a  small  loop  and  projecting  knob.  Cover  with  rough  scrollwork  in  white 
Mishima.     Five  rough  traces  of  spur-marks.     Bottom  unglazed.  1200 

61.  Shallow  dish,  with  slightly  flaring  sides.  D.  4I  in.  Hard  ringing  clay,  gray  celadon 
glaze,  crackled  in  parts.  Five  conventional  flowers,  equidistant,  in  black  and  white  Mishima. 
The  same  number,  inside,  in  white  Mishima,  and  on  bottom,  inside,  rosette  of  scrolls,  etc.,  in 
white  Mishima.     Three  ragged  spur-marks.  1200 

62.  Shallow  dish,  with  flattened  projecting  rim.  D.  5^  in.  Sides  and  rim  moulded  in 
eight  double  scallops,  /->-"-^-n.  Inside,  incised  in  leaves,  scrolls,  etc.  Greenish  celadon  glaze. 
On  bottom  three  rough  spur-marks.  1200 


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JAPANESE  POTTERY  31 

89— 92-     Bowls,  with  gray  glaze  and  white  Mishima  decoration.  1630-1780 

93~IOI«     Bowls,  flask,  jars,  and  nozzle  bottle.  i 750-1800 

KOREAN   POTTERY  —  MODERN  (Case  i) 

I02-H2.     Jars,  bottles,  and  cups.  1850-1880 

JAPANESE   POTTERY 

The  earliest  records  of  the  Japanese  attest  to  the  presence  of  the  potter's 
art.  Before  recorded  history,  however,  or  dimmest  tradition,  man  was 
engaged  in  fashioning  rude  pottery  by  hand,  and  the  wide  dispersal  of  this 
material  has  led  to  a  number  of  provinces  claiming  equal  antiquity  for  the 
origin  of  pottery-making.  The  shell  heaps  along  the  coast  are  filled  with 
the  fragments  of  rude  pots,  showing  cord-marked,  incised,  and  modeled 
decoration,  indicating  the  presence,  in  prehistoric  times,  of  a  people  low 
down  in  savagery,  yet  skilful  in  handling  clay.  Early  in  historic  times 
may  be  regarded  the  clay  figures,  the  burial  of  which  on  the  death  of  an 
emperor  is  said  to  have  been  substituted  for  that  of  living  persons.  The 
record  seems  childish,  and  as  the  date  is  early  in  the  Christian  era  it  may  be 
that  the  story  might  have  originated  from  the  finding  of  these  figures,  or 
that  the  legend  might  have  come  from  abroad.  Next  in  time  are  the 
unglazed  lathe-turned  mortuary  vessels  found  in  caves,  dolmens  and  tumuli, 
associated  with  bronze  objects,  indicating  an  age  of  from  eleven  hundred  to 
twelve  hundred  years.  The  collections  in  the  great  storehouse  at  Nara 
reveal  the  existence  of  soft  green  glazed  pottery  one  thousand  years  ago, 
though  Ninagawa  was  inclined  to  believe  that  this  pottery  was  brought 
from  China,  and  I  am  inclined  to  the  same  opinion.  Fragments  of  a  hard 
green  glazed  pottery  dug  up  in  Omi  are  figured  by  Ninagawa  and  accorded 
an  age  of  nine  hundred  years.  Records  show  the  presence  of  Korean 
potters  in  Hizen  five  hundred  years  ago. 

The  first  step  in  what  may  be  called  a  definite  and  connected  history  of 
pottery-making  in  Japan  dates  from  the  beginning  of  the  thirteenth  cen- 
tury. The  drinking  of  powdered  tea  was  destined  to  exercise  a  profound 
influence  on  the  potter's  art.  An  herb  which  was  so  associated  with 
Chinese  courtesy  and  hospitality  —  an  infusion  which  had  inspired  the 
minds  of  those  who  had  been  identified  with  the  national  grandeur  of  that 
unique  people  —  was  to  be  served  in  vessels  of  becoming  excellence.  With 
the  importation  of  pottery  and  porcelain  from  China  the  desire  to  improve 


32  THE   CATALOGUE 

the  quality  of  their  own  rude  work  was  aroused,  and  history  relates  that  in 
1223  one  Kato  Shirozayemon,  a  potter  of  Owari,  went  to  China  to  learn 
the  higher  secrets  of  the  potter's  methods.  After  an  absence  of  several 
years  he  returned  to  his  native  village  of  Seto,  and  began  the  making  of  tea- 
jars,  water-jars,  and  other  forms.  A  study  of  the  work  of  this  man  and  of 
his  successors  is  of  interest,  as  exhibiting  the  dawn  of  that  art  which  in 
succeeding  centuries  was  to  make  Japan  famous  the  world  over.  So 
important  was  the  impress  made  by  the  potters  of  Seto  that  the  name  Seto 
became  the  generic  appellation  of  all  Japanese  pottery,  just  as  China  has 
become  the  synonym  for  all  porcelain.  In  New  England  every  house  con- 
tains its  "  china  closet,"  though  its  shelves  may  have  sustained  nothing 
more  precious  than  the  white  glazed  stone  pottery  of  England. 

PREHISTORIC   POTTERY  (Case  2) 

The  pottery  found  in  the  shell  heaps  scattered  along  the  coasts  may  justly  be 
regarded  as  prehistoric.  In  a  memoir,*  published  by  the  University  of  Tokyo,  I  have 
described  and  figured  the  characteristic  features  of  some  of  this  pottery,  and  have  else- 
where expressed  the  opinion,  which  I  still  hold,  that  the  pottery  was  made  by  a  people 
who  occupied  the  land  before  the  Ainus.  This  pottery  is  rough,  hand-made;  rims 
variously  modeled  and  ornamented  with  curiously  elaborate  knobs,  and  sides  deco- 
rated with  designs  of  scrolls,  and  inclosed  spaces  incised.  In  the  north,  cord-marked 
pottery  predominates  ;  this  feature  becomes  less  common  towards  the  south,  until 
finally,  in  the  extreme  south,  it  almost  disappears,  and  the  design  becomes  broadly 
incised.  Each  limited  region  on  the  coast  has  some  peculiarity  in  form  and  marking. 
The  most  elaborately  made  and  decorated  forms  of  shell-heap  pottery  are  found  near 
the  central  portions  of  Japan.  The  pottery  is  usually  found  in  fragments ;  it  shows 
evidence  of  wear,  breakage,  and  subsequent  mending.  No  representation  of  a  natural 
object,  such  as  an  animal  or  a  plant,  appears  in  this  pottery ;  it  is  associated  with 
cannibalism  and  platycnemic  tibiae,  and,  in  the  vicinity  of  Tokyo  at  least,  with  the 
rudest  stone  and  bone  implements.  Great  age  is  indicated  by  a  marked  change  in 
the  molluscan  fauna  since  the  deposits  were  made. 

113.     Fragments  of  pottery,  from  the  shell  mounds  of  Omori,  near  Tokyo. 

II4-I23.  Plaster  casts  of  pottery  vessels  and  pottery  tablets  from  the  shell  mounds 
of  Omori,  near  Tokyo.  The  original  specimens  are  in  the  Museum  of  the  Imperial  University 
of  Japan. 

124.  Jar,  from  shell  mounds  near  Tokyo. 

125.  Fragments  of  pottery,  from  shell  mounds  on  the  west  coast  of  Yezo,  at  Otaru. 

126.  Fragments  of  pottery,  from  shell  mounds  of  Onomura,  Higo. 

'  Shell  Mounds  of  Omori. 


JAPANESE  POTTERY  33 

127.  Jar.  H.  11}  in.  Narrow  base,  decorated  by  a  fillet  of  crenulated  clay  around  body. 
This  object  is  figured  in  Ninagawa's  work,  Part  VII.,  Fig.  27.  This  was  found  at  Hyuga, 
and  is  evidently  of  the  same  age  as  the  shell-heap  pottery. 

128.  Jar.  H.  <j\  in.  D.  yi  in.  in  middle,  tapering  to  a  narrow  base  and  a  narrow  open- 
ing. Two  long,  flat  handles,  notched  with  three  circular  impressions  on  each  side.  Around 
neck  and  centre  are  raised  ribs  in  pairs,  connected  by  raised  ribs  in  pairs  running  vertically 
on  both  sides  of  handles,  ending  with  raised  circles  at  each  end.  Scroll  design  in  relief  on 
sides,  and  impressed  spirals  in  shape  of  figure  eight  around  centre  and  on  sides.  Roughly 
made.     Dug  up  near  Sapporo,  in  Yezo.     Collected  by  Mrs.  Mabel  Loomis  Todd. 

KAMIOKA   POTTERY  (Case  2) 

A  form  of  ancient  pottery  seen  in  the  collections  of  Japanese  antiquarians  is 
brought  from  the  northern  provinces  of  Rikuzen  and  Rikuchu.  I  have  not  been  able 
to  ascertain  the  conditions  under  which  it  is  found,  except  that  it  was  dug  from  the 
ground.  The  number  of  perfect  vessels  met  with  would  perhaps  indicate  that  the 
objects  had  been  obtained  from  burial-places.  The  vessels  are  always  small  in  size, 
the  walls  are  thin,  the  designs  smoothly  incised  in  scrolls  or  interrupted  lines  with 
cord-mark  decoration ;  the  rims  are  even,  or  worked  into  low  knobs  or  shallow  notches. 
Most  of  the  forms  are  curiously  unlike  those  found  elsewhere.  Representations  of 
natural  objects  are  also  found.  From  what  is  thus  far  known  about  this  interesting 
pottery,  it  must  be  regarded  as  prehistoric.  There  is  not  the  slightest  evidence  that 
the  Ainus  made  pottery.  An  art  so  persistent  among  savage  tribes  as  pottery-making 
would  never  have  been  abandoned  by  such  primitive  savages.  If,  however,  it  shall 
ever  be  demonstrated  that  the  Ainus,  as  a  race,  made  pottery  in  past  times,  I  shall 
be  inclined  to  attribute  the  Kamioka  pottery  to  Ainu  origin. 

129.  Bowl.  D.  4^  in.  Fine  dark  clay,  band  of  interrupted  lines  around  rim.  Rim 
notched  with  four  pairs  of  low  knobs.  Cord-mark  impressions  on  side.  Smooth  space  near 
bottom. 

130*     Cup.     D.  2f  in.     Surface  cut  in  series  of  strong  encircling  ribs. 

13^'  Jar.  H.  5f  in.  Ovoid  in  form.  Coarse  whitish  clay,  surface  rough.  This  speci- 
men, though  coming  from  Kamioka,  has  none  of  the  characteristics  of  the  typical  Kamioka 
pottery. 

MORTUARY   POTTERY  (hard  gray  lathe-turned)  (Case  2) 

132.  Lenticular  flask,  with  cylindrical  neck,  and  knobs  on  sides  suggesting  rudimentary 
handles.  H.  7J  in.  Hard  gray  clay.  Circular  lathe-lines  deeply  marked.  Vitrified  about 
neck.  Yamato.     800 

133*  Flask,  spherical  body,  neck  with  flaring  rim.  H.  64  in.  Fragments  of  other  vessels 
adhering.  Yamato.     800 

134-  Spherical  jar.  Yamato.    800 

135-  Flask,  similar  to  133. 


34  THE  CATALOGUE 

136.     Lenticular  flask,  nearly  globular.     Short  cylindrical  neck.     H.  8^  in.  800 

137*  JaR-  H.  iiJ  in.  Globular  body,  flattened  above.  At  one  side  of  vertical  axis 
below  is  a  flattened  area  upon  which  the  vessel  rests  ;  above  and  on  the  opposite  side  is  a 
short  round  neck,  with  definite  rim.  Hard  fawn  clay,  upper  surface  strongly  vitrified  in 
green  drops.     Lines  impressed  on  outside.  Yamato.     800 

Type  Ninagawa.      Part  II.,  Fig.  i. 

138.  Lenticular  flask.  Yamato.    800 

139.  Shallow  cup,  with  cover,  with  tall  narrow  base,  flaring  at  bottom.  H.  8|  in.  Per- 
forated with  three  long,  narrow  slits  interrupted  in  middle.  Cover  convex,  with  small  knob. 
Soft  light  gray  clay,  cover  nearly  white.  Yamato.     800 

140.  Vase.  H.  14!  in.  Globular  body,  short  flaring  neck.  Tall  support,  flaring  at  base. 
AflSxed  to  shoulder,  close  to  neck,  are  three  little  globular  jars  with  flaring  necks.  Neck 
with  three  zones  of  wavy  comb-marks  divided  by  ribs.  Body  having  lines  of  dots  about 
lower  portion.  Support  with  three  zones  of  wavy  comb-marks,  also  three  lines  of  narrow 
perforations  interrupted  by  ribs. 

A  most  unusual  form.  Yamato.     Sob 

I4I~I53'     Various  forms  of  pottery  similar  to  the  above.  Yamato.     800 

In  clay  and  decoration  the  above  objects  are  identical  with  those  from  Korea  already 
catalogued.  The  lenticular  flasks  are  peculiar  to  Japan.  Other  forms  are  similar  to  or 
identical  with  Korean  forms. 

154.  Jar.  H.  si  in.  Globular  body,  sloping  shoulder,  large,  slightly  flaring  neck  with 
two  ribs  midway  and  below.  Wavy  comb-marks.  Hard  light  gray  clay,  walls  thin,  delicately 
turned.  Yamashiro.    800 

^55*  Jar-  H.  2,\  in-  Bluntly  pear-shaped.  Neck  short,  flaring.  Fine  right-hand  thread- 
mark  on  bottom.     Hard  dark  gray  clay.     Surface  partly  vitrified.  Shinano.     800 

156,  157'     Mortuary  vessels.     Locality  unknown.  800 

158.     Fragment  of  large  jar,  showing  circular  impressions  on  inner  side. 

Locality  unknown.     800 

159-     Fragment,  showing  deep  circular  impressions  on  inner  side.  Omi.     800 

Associated  with  unglazed,  lathe-turned,  hard,  gray  mortuary  vessels  in  Korea  are 
found  vessels  of  small  size  with  soft  light  red  clay,  usually  modeled  by  hand.  So  in 
Japan,  at  Kabutoyama,  in  the  Province  of  Musashi,  at  a  place  where  Korean  potters 
are  known  to  have  come  in  early  centuries,  there  are  dug  up  similar  vessels  of  soft 
light  red  clay,  made  by  hand,  and  of  similar  shapes.  These  are  associated  with  frag- 
ments of  the  hard  gray  mortuary  pottery.      160-164,  gift  of  Mr.  Negishi. 

160.  Jar.     D.  2>\  in-     Round  body,  flaring  rim.     Heavy  soft  reddish  clay. 

Kabutoyama.     800 

161.  Cup,  flaring.     H.  i\  in.     Sides  with  two  slight  swellings.     Thin  light  reddish  clay. 

Kabutoyama.     800 

162.  Cup,  flaring.  H.  2J  in.  Slight  constriction  below  rim.  Thin  walls.  Comb-marked 
outside.     Light  fawn  clay.  Kabutoyama.     800 


JAPANESE  POTTERY  35 

163.  Eighteen  fragments  of  pottery  similar  to  above,  consisting  of  cup-supports,  shallow 
bowls,  cups,  tall  supports  with  widely  flaring  base,  etc.  All  hand-made.  Some  of  the  frag- 
ments are  stained  with  cinnabar.  Kabutoyama.     800 

164.  Five  fragments  of  hard  bluish-gray  unglazed  pottery,  associated  with  the  preceding 
forms. 

In  Korea  peculiar  pagoda-like  figures,  resembling  rude  chessmen,  in  soft  light  red 
clay,  and  made  in  a  mould,  are  found  associated  with  the  mortuary  vessels.  (See  Cat. 
Nos.  52  and  53.)  In  Japan  similar  objects  are  found  associated  with  the  same  pottery. 
In  Yamato  these  objects  are  said  to  have  been  made  during  the  reign  of  Suiko  Tenno, 
in  the  seventh  century.     They  were  made  by  the  thousand  for  votive  offerings. 

165.  Stunted  pyramidal  object,  with  heavy  shoulder  just  below  top,  suggesting  a  phallus. 
H.  2\  in.     Oblong  incision  in  base.     Soft  light  fawn  clay.     Made  in  mould. 

Yamato.     Seventh  century 

166.  Pagoda-formed  object,  with  overhanging  shoulder,  projecting  base,  and  ribbed  spire. 
H.  2^  in.     Soft  light  red  clay.     Made  in  mould.  Yamato.     Seventh  century 

167.  Fragment  of  light  yellow  sandy  pottery  from  the  mound  of  Jimmu  Tenno. 

Yamato.     Seventh  century 

168.  Similar  fragment.    Vertical  comb-mark. 

The  two  following  pieces  are  identical  with  a  form  described  and  figured  by  Nina- 
gawa  in  a  separate  brochure  as  coming  from  a  mound  in  Yamato.  They  resemble 
Ochiai  and  Okehazama  in  the  welded  basal  ring. 

169.  Shallow  bowl,  with  thin  and  delicate  walls.  D.  5!  in.  Soft  nearly  white  clay,  very 
fine.     Dark  slate-colored  areas.     On  bottom,  inside,  a  smoothly  rubbed  scroll.     Hand-made. 

From  a  dolmen  in  Iga  discovered  by  Professor  Chujiro  Sasaki. 

170.  Similar  to  last. 

I7I-  Shallow  plate.  D.  3J  in.  Light  yellow  sandy  clay.  Made  by  hand.  Associated 
with  above. 

172.  Cylinder.  H.  iiJ  in.  D.  12  in.,  slightly  larger  below.  Rough  light  reddish  clay 
coarsely  worked  by  hand.  Exterior  with  fine  vertical  comb-marks.  On  opposite  sides  of  the 
lower  edge  are  two  circular  notches,  four  and  one  half  inches  in  length  by  two  inches  in 
height.  On  the  outside  of  one  notch  the  clay  is  somewhat  blackened,  as  if  by  smoke. 
There  are  no  signs  of  fire  inside.  The  upper  end  has  thicker  walls,  varying  from  3J  in.  to 
}  in.     The  lower  rim  \  in.  in  thickness. 

Said  to  have  been  one  of  the  flower-.vases  used  on  the  beach  of  Harima  in  ancient  times 
in  honor  of  the  Emperor. 

In  appearance  the  pottery  resembles  fragments   167,  168. 

Gift  of  Bunkio  Matsuki.     (On  top  of  Case  2.) 

EARLY   HISTORIC   POTTERY  (Case  2) 

The  two  following  shallow  vessels  are  apparently  later  than  the  early  lathe-turned 
mortuary  pottery  already  catalogued.     They  are  made  of  similar  clay,  lathe-turned. 


36  THE   CATALOGUE 

unglazed,  but  differ  from  the  Korean  and  similar  pottery  in  Japan  by  having  a  basal 
ring  rudely  welded,  the  base  showing  thread-marks.  Vessels  of  this  character  are  all 
roughly  potted.  The  objects  are  found  on  the  sites  of  ancient  ovens,  and  probably 
represent  the  early  attempts  of  Japanese  potters  breaking  away  from  Korean  models. 

173'  Shallow  bowl.  D.  6|  in.  Rudely  potted.  Hard  light  brownish  clay.  Inner  sur- 
face vitrified,  basal  ring  welded  to  bottom,  inside  of  which  is  a  scroll. 

Identical  with  Ninagawa's  type.     Part  VI.,  Fig.  6.  Ochiai,  Owari.     Seventh  century 

174,     Similar  to  last.    Indistinct  thread-mark  on  bottom. 

Okehazama,  Owari.     Seventh  century 

^75'  ^7"-     Yamato  NingiO.     Reproduction  of  clay  figures  found  near  Nara,  Yamato. 

Gift  of  E.  F.  Fenollosa.  Seventh  century 

EARLIEST   GLAZED   POTTERY  (Case  2) 

177'  Fragments  of  pottery  dug  up  at  Shiga,  Omi.  Hard  gray  clay,  thin  watery  green 
glaze. 

Type  Ninagawa.     Part  II.,  Fig.  2. 

178.     Fragments  of  pottery  from  Emperor's  storehouse  at  Nara.     Soft  light  fawn  clay, 
light  transparent  glaze,  rich  green  overglaze  in  streaks. 
Ninagawa  believed  these  to  be  Chinese. 


PROVINCE   OF    HIZEN 

The  keramic  products  of  Hizen  are  known  the  world  over  through  its 
famous  porcelain.  After  China,  its  "  blue  and  white  "  and  "  polychrome  " 
stand  preeminent.  During  the  early  days  of  the  Dutch  commerce  with 
Japan,  the  porcelain  ovens  near  Nagasaki  turned  out  large  numbers  of  huge 
vases  and  plaques  made  expressly  for  the  Dutch  trade.  The  famous  col- 
lection at  Dresden  is  made  up  almost  exclusively  of  these  big  vases  in 
polychrome.  When  one  considers  the  beautiful  work,  made  in  accordance 
with  the  refined  taste  of  the  Japanese,  which  the  Dutch  merchants  might 
have  obtained,  the  contemplation  of  the  Dresden  collection  is  simply 
disheartening. 

As  the  consideration  of  porcelain  does  not  come  within  the  scope  of 
.  this  catalogue,  we  turn  our  attention  to  the  soft  and  hard  pottery.  Among 
the  kinds  most  prized  by  the  Japanese  are  those  which  come  under  the 
general  name  of  Karatsu.  There  certainly  could  be  no  greater  contrast 
than  that  shown  between  the  exquisite  white  porcelain  and  the  rough,  dark, 
and  archaic-looking  bowls  and  jars  of  Karatsu.     Of  a  later  date  may  be 


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JAPAN.     PREHISTORIC  AND   EARLY 


PROVINCE   OF  HIZEN  37 

considered  the  work  of  Goroshichi  and  the  products  of  Kameyama,  Boga- 
saki,  Utsutsugawa,  and  others,  among  which  are  found  many  pieces  of 
interest.  The  almost  entire  absence  of  marks  renders  the  identification 
in  some  cases  extremely  difficult.  Yet  a  certain  individuality  attaches  to 
them  all. 

KARATSU  (Cases  3  and  4  and  Plate  I.  179,  180,  181,  197,  206,  243,  252) 

Under  this  name  a  very  wide  range  of  hard  pottery  is  included.  This  pottery  is 
designated  by  different  names,  according  to  age  or  variety.  I  have  found  it  difficult  to 
harmonize  conflicting  opinions  among  Japanese  experts,  and  shall  avoid  making  fur- 
ther confusion  by  considering  the  entire  group  under  the  generic  name  of  Karatsu. 

In  the  ancient  town  of  Karatsu,  pottery  has  been  made  from  remote  times. 
Records  show  that  glazed  pottery  was  made  in  Karatsu  in  1200  or  thereabouts. 
Korean  potters  were  at  work  there  as  late  as  the  sixteenth  century.  The  pottery 
varies  greatly  in  the  color  and  the  quality  of  the  glaze.  If  decorated  at  all,  the  paint- 
ing is  done  in  black  or  brown,  in  the  rudest  manner ;  if  in  Mishima  style,  the 
designs  are  simple.  Despite  the  hard,  rough  clay,  which  presents  in  many  pieces  a 
resemblance  to  cast  iron,  and  the  archaic  appearance  of  the  pottery,  there  is  a  certain 
charm  about  it,  which  increases  with  study.  The  older  pieces  belong  to  the  past ; 
they  are  like  fossils,  never  again  to  be  reproduced.  The  quarries  from  which  the  clay 
was  derived  are  exhausted ;  the  formulae  for  the  glazes  are  lost.  Old  Karatsu  pottery 
is  therefore  unique.  The  earliest  forms  have  a  bluish-black  clay  and  glaze.  Subse- 
quently Korean  potters  settled  in  Karatsu,  and  objects  made  by  them  are  known  as 
Oku  Korai  (distant  Korea).  The  pottery  resembling  Korean  work  is  known  as 
Chosen  (Korea)  Karatsu.  Castaways  dug  up  from  the  ruins  of  old  ovens  are  recog- 
nized under  the  name  of  Horidashi  (dug-up)  Karatsu.  Those  decorated  with  rough 
sketches,  or  rude  splashes  in  black,  are  called  Ye  (painted)  Karatsu.  And  those  with 
a  broad  brush-mark  of  white  are  termed  Hakeme  (brush-marked)  Karatsu.  The 
designs,  incised  or  impressed,  and  filled  with  clay  of  contrasting  color,  either  white 
or  black,  are  known  under  the  general  name  of  Mishima  Karatsu.  Certain  forms  of 
fine  clay,  rather  delicately  made,  for  the  purpose  of  presenting  to  some  Daimyo,  are 
called  Kenjo  (present  to  superior)  Karatsu.  Many  of  these  distinctions  are  absurd  as 
well  as  useless,  for  they  rarely  indicate  either  special  potters,  ovens,  or  periods ;  and 
at  the  same  time  the  distinctions  are  often  so  vague  that  native  experts  differ  in  dis- 
tinguishing them,  and  even  in  defining  them.  For  lack  of  other  information,  however, 
and  for  convenience  of  cataloguing,  the  above  groupings  will  be  followed  in  a  general 
way. 

179-    Comfit -BOTTLE.     H.  2J  in.     Smooth  olive-gray  clay,  dull  greenish-white  underglaze, 
dull  brown  overglaze.     Lower  portion  unglazed.  1180 

Type  Ninagawa.     Part  III.,  Fig.  11. 

180.    Tea- bowl.    D.  si  in.     Dull  light  brown  clay,  olive  glaze,  crackled.    Base  unglazed. 
Type  Ninagawa.     Part  III.,  Fig.  12.  1280 


38  THE   CATALOGUE 

181.  Single  flower-holder,  double  gourd  shape.  H.  2\  in.  Brownish  clay,  thick  olive- 
white  glaze.     Thread-mark.  1380 

Type  Ninagawa.     Part  III.,  Fig.  13. 

182.  Beaker,  with  large  spout.  D.  6J  in.  Coarse  reddish  clay,  light  olive-gray  glaze 
coarsely  crackled.     On  opposite  sides,  large  oval  splash  of  dark  gray.     Iridescent.  1380 

Type  Ninagawa.     Part  III.,  Fig.  14. 

The  above  types  of  Ninagawa  all  bear  the  evidences  of  great  age. 

^^83-    Jar,  globular,  sloping  shoulder.      H.  6  in.      Thickened  rim.      Basal   ring.      Hard 
reddish-brown  clay,  olive  glaze  coarsely  crackled.     Two  curved  brush-marks  in  black.      1480 
This  resembles  No.  182,  but  was  probably  made  a  hundred  years  later. 

184.  Similar  to  last.     H.  5  in.  1480 

185.  Tea-bowl,  shallow,  thickened  rim,  oblong  oval  in  three  curves.  D.  jj  in.  Hard 
coarse  reddish  clay,  light  greenish-gray  glaze,  thick  dull  olive-brown  second  glaze,  and  white 
curdled  running  overglaze.     Roughly  potted.  1500 

186-I9I.    Bowls,  beaker,  and  cup-rest.  1530-1630 

192.    Tea-cup.    D.   2J  in.     Reddish-brown  clay,  light  olive-gray  glaze,  rich  deep  olive- 
brown  fringe  of  glaze  around  rim  within.  1680 
Exceedingly  rare  form. 

193-196.     Bowls  and  jars.  1680-1780 

197-  Jar.  H.  5:^  in.  Thickened  rim.  Coarse  brown  clay,  thick  silvery-white  glaze  crackled. 
Splashes  of  greenish  overglaze.  1750 

198-202.    Flower-vase,  bowls,  incense-stick  burner,  shallow  dish.  1780-1830 

203.  Bowl.  D.  4§  in.  Coarse  reddish-brown  clay,  grayish  underglaze  curdled,  olive-green 
overglaze.  1850 

SILVER   KARATSU  (Case  3) 

I  have  designated  a  peculiar  white-glazed  Karatsu  as  Silver  Karatsu,  to  distinguish 
it  from  other  kinds  of  white  glaze  found  in  this  province.  It  is,  indeed,  unlike  any- 
thing else  found  in  the  whole  range  of  Japanese  pottery. 

204.  Globular  tea-jar,  on  high  basal  ring.  H.  3  in.  Coarse  gray  clay  tinged  with  red, 
silvery-white  glaze  with  bluish  fleck  running  in  thick  drops,  finely  crackled.  1480 

205.  Single  flower-holder.  H.  3^  in.  Globular  body,  long  neck,  and  flaring  support. 
Fawn-colored  clay,  white  glaze  finely  crackled  and  much  stained.  1480 

206.  Tea-bowl.  D.  5J  in.  Flaring  from  basal  ring,  and  strongly  constricted  just  below 
rim.     Coarse  fawn  clay,  thick  silvery-white  glaze  crackled.     Highly  lustrous.  1530 

207.  Beaker.  D.  4^  in.  Hard  reddish-brown  clay,  underglaze  transparent,  glistening; 
thick  silvery-white  overglaze.  1600 

208.  Tea-jar.  H.  3^  in.  Very  thick  and  heavy.  Fine  hard  light  reddish-brown  clay, 
lustrous  transparent  glaze,  flecked  with  opalescent  light  blue ;  rich  transparent  brown  over- 
glaze ;  on  shoulder  bluish-white^running.  1650 

Gift  of  Mrs.  Henrietta  Page. 


PROVINCE   OF  HIZEN  39 

CHOSEN    KARATSU  (Case  3) 

209.  Bowl.  D.  4J  in.  Fine  clay,  thick  white  glaze  with  pink  areas,  finely  crackled, 
blistered  near  rim  inside  and  out.  1500 

210.  Bowl,  contracted  towards  mouth.  D.  3^^  in.  Fine  gray  clay,  thick  white  glaze,  with 
warm  grayish  tinge  throughout,  strongly  crackled.     (Case  4.)  1580 

211.  Bowl.  D.  i,\  in.  Hard  reddish  clay,  thick  white  glaze  coarsely  crackled.  Dull 
blue,  sketchy  decoration  of  cross  lines,  etc.  1580 

YE-KARATSU  (Case  3) 

212.  Cake-dish,  fan-shaped.  Outside  diameter  9  in.  Fine  brown  clay,  dull,  light 
yellowish-gray  glaze.     Sketch  of  tree  in  greenish-black.  1500 

213.  Tile  for  furnace-rest,  hexagonal.  D.  7 J  in.  Dark  brown  clay,  resembling  cast  iron  ; 
dull  white  underglaze,  white  overglaze.     Decoration  of  egg  plant  in  black,  vigorously  drawn. 

1520 

214.  Cake-dish.  D.  6j  in.  Reddish-brown  clay,  warm  gray  glaze.  Rude  decoration  in 
black.  1580 

215— 217-     Shallow  plate,  beaker,  and  deep  cup.  1600-1630 

218.  Squat  tea-jar.  H.  i^  in.  Hard  brown  clay,  thick  olive-brown  glaze  crackled. 
Decoration  of  wheels  in  black.  1650 

219.  Cake-dish.     D.  6  in.  1680 

220.  Incense-stick  burner,  in  form  of  bowl  with  inverted  rim.  D.  if  in.  Fine  gray 
clay,  light  olive-gray  glaze.     Black  and  blue  brush-marks  on  rim  alternating.     Thread-mark. 

An  unusual  form.     (Case  4.)  1680 

221.  Tea-bowl.  1680 

222.  Large  bowl.  D.  7J  in.  Light  brown  clay,  heavy  gray  glaze,  thick  white  overglaze 
in  two  large  areas,  coarsely  crackled  and  pitted.  Decoration  of  flowers  and  bamboo  in 
green  and  brown.     Incised  lines  encircling  lower  portions.  1700 

223.  Deep  bowl,  cylindrical.  D.  3I  in.  H.  4  in.  Fine  brown  clay,  chocolate-colored 
glaze.     Rude  decoration  of  flowers  and  vertical  lines  in  olive  brown.  1700 

224.  Oviform  bottle,  with  long  slender  neck.  H.  1  \\  in.  Fine  light  gray  clay,  brilliant 
light  olive  glaze,  finely  and  evenly  crackled.  Neck  with  rich  brown  overglaze  flecked  with 
black.     Decoration  of  bamboo  in  black,  with  brown  and  green  intermixed.     (Case  4.)      1700 

225.  Bowl.     D.  sJ  in.     Basal  ring  with  semicircular  notches.  1700 

220.  Plate.  D.  16^  in.  Reddish-brown  clay,  thick  light  brown  glaze;  inside  showing 
combings  of  clay  in  wavy  encircling  and  radiating  lines.  These  lines  filled  with  cream-white 
glaze.  Inside  decoration  of  vine  in.  green  and  brown,  roughly  sketched.  Lower  half  of 
plate  unglazed.     (Case  4.)  1700 

A  remarkable  example. 

227.  Oviform  bottle,  with  long  slender  neck.  H.  13I  in.  Light  fawn  clay,  white  glaze 
with  light  fawn  tinge,  finely  crackled.     On  base,  opaque  reddish  glaze.     Formal  drawings  of 


40  THE   CATALOGUE 

cloud,  bat,  mythological  bird,  etc.,  in  black.  Ornamental  band  at  junction  of  neck  with 
body.     (Case  4.)  1750 

228—236.     Bowls,  cake-dish,  deep  bowls,  tea-cup,  etc.  1750-1870 

The  six  following  specimens  appear  to  belong  to  the  same  type  of  pottery.  They 
all  have  light  fawn  clay  and  glaze,  with  rude  decoration  of  scrolls,  latticework,  etc.,  in 
black  and  brown. 

237*  WiNE-BOTTLE,  mouth  pinchcd  to  form  a  slight  spout.  H.  6J  in.  Fawn-colored  clay 
and  glaze.     Scrolls  and  latticework  in  black.  1530 

238.  Beaker.  D.  sJ  in.  Fine  light  brown  clay,  fawn  glaze  finely  crackled.  Scrolls,  leaves, 
etc.,  in  black.  1530 

239.  Cake-dish.    D.  6  in.  1650 

240.  Haisen.  D.  \o\  in.  Basal  ring  flanged,  with  two  circular  openings.  Light  fawn 
clay  and  glaze.  Light  brown  decoration  of  dragons  in  panels.  Interspaces  filled  with  cross- 
lines.  1750 

241.  Haisen.  D.  74  in.     Similar  to  last.                                                                         1750 

242.  Bowl.  D.  s|  in.  Fawn  clay  and  glaze,  coarsely  crackled.  Petalated  scroll  in  gray 
outlined  in  black.  1800 

MISHIMA   KARATSU  (Case  3) 

243-  Jar.  H.  4^  in.  Coarse  reddish-brown  clay,  dark  warm  gray  glaze.  Around  shoulder 
three  zones  of  stars,  flowers,  etc.,  in  white  Mishima,  the  white  forming  an  overglaze.         1580 

244<     Jar.     H.  6|  in.     Similar  to  last.  i5oo 

245.  Tea-bowl.  D.  5I  in.  Light  brown  clay,  thick  dull  gray  glaze.  Band  of  stars  in 
middle,  and  band  of  zigzag,  vertical  lines  above  and  below  in  white  Mishima.  1600 

246.  Jar.  H.  6J  in.  Thick  walls,  looped  handles.  Vertical,  wavy  lines  about  rim,  and 
successive  bands  of  jewels,  stars,  and  circles  continuing  to  base  in  white  Mishima.  1680 
247*  Jar-  H.  7^  in.  .  Straight  sides.  Light  brown  clay,  transparent  glaze.  A  variety 
of  designs  in  white  Mishima  impressed,  white  brush-marks.  i68o 

Gift  of  W.  S.  Bigelow. 

248.  Bowl.  D.  5I  in.  Dull  brown  clay  and  dull  gray  glaze  with  thick  layer  of  white  glaze 
combed  through  in  sinuous  lines  inside  and  out.  Inside,  on  bottom,  radiating  figures,  etc., 
in  white  Mishima.  1750 

249.  Bowl.  D.  s|  in.  Light  gray  clay,  dull  transparent  glaze.  Radiating  figures  and 
coarsely  incised  lines  in  white  Mishima,  inside  and  out.  175° 

250.  Globular  water-jar,  shell  handles.  H.  5f  in.  Fine  brown  clay,  chocolate  brown 
glaze.     Flowers,  frets,  and  zigzag  lines  in  white  Mishima.  1780 

251.  Tea-bowl.     D.  6  in.  1780 
The  two  following  bowls  were  considered  by  Ninagawa  as  extremely  rare. 

252.  Shallow  tea-bowl,  walls  thin.  D.  6  in.  Fine  brownish  clay,  thick  chocolate  gray 
glaze.     Inside,  zigzag  lines,  finely  rayed  stars,  etc,  in  white  Mishima.  1780 


PROVINCE   OF  HIZEN  41 

253-  Shallow  tea-bowl.  D.  5^  in.  Fine  reddish-brown  clay,  dark  warm  gray  glaze, 
nearly  black  within.     Fret,  stars,  etc.,  in  white  Mishima  inside.     Walls  thin.  1780 

254-  Shallow  tea-bowl.  D.  ^\\  in.  Dark  brownish  clay,  warm  dark  gray  glaze.  Inside, 
bands  of  wave  lines,  flowers,  points,  etc.,  in  white  Mishima.  1780 

Gift  of  Denman  W.  Ross. 

255.    Shallow  tea-bowl.  1780 

256— 259-     Various  forms  of  bowls.  1800 

HAKEME   KARATSU  (Case  3) 

260.  Flower-vase.  H.  7  in.  Globular  body,  wide  cylindrical  neck.  Large  looped  handles. 
Hard  reddish-brown  clay,  olive-gray  glaze,  thick  white  overglaze  cut  through  with  sinuous 
lines.    (Case  4.)  i  1600 

261.  Jar,  swelling  above.  Wide  basal  ring,  heavy.  H.  6J  in.  Hard  brown  clay,  olive- 
green  underglaze,  white  overglaze  in  bands  about  top  and  on  body,  mottled  with  finger  or 
brush.  1700 

262.  Cake-dish,  irregular  in  form.  D.  6|  in.  Fine  reddish-brown  clay,  thick  light  olive- 
glaze.     Sinuous  brush-mark  in  white  with  bluish  and  purplish  tinges.  1700 

263.  Tea-bowl,  irregular.  D.  5^  in.  Reddish  clay,  thick  warm  gray  glaze,  tinged  by  red 
clay  beneath.     Broad  brush-marks  in  white  inside  and  out.     Thick  basal  ring.  1730 

264.  Oblong  cake-dish.     L.  9 J  in.  1750 

265.  Shallow  dish.  1800 

KENJO   KARATSU  (Case  3) 

266.  Bowl.  D.  4f  in.  Fine  dull  yellow  clay,  transparent  glaze  finely  crackled,  somewhat 
resembling  Satsuma.     (Case  4.)  1800 

267.  Tea-cup.     D.  if  in.     Fine  yellowish  clay,  with  transparent  glaze  coarsely  crackled. 
A  rare  form.     (Case  4.)  1820 

268.  Plate.  D.  7J  in.  Light  fawn  clay,  thick  light  yellowish  glaze,  inside  finely  crackled, 
coarsely  crackled  below.  1820 

269.  Bowl.  D.  5I  in.  Yellowish  white  clay  and  glaze,  with  pinkish  tinges.  Cloud  and 
crane  in  gray  Mishima.  1820 

271.  Plate.  D.  io\  in.  Fine  light  fawn  clay  and  glaze.  Inside,  radiating  lines  about 
rim  and  band  of  stars  in  dark  brown  Mishima.  1830 

272.  Bowl.  D.  4J  in.  Light  chocolate-brown  clay  and  glaze.  Cloud,  crane,  and  encircling 
bands  in  white  Mishima.  1830 

273-  Bowl.     D.  4f  in.  Fine  light  clay,  black  Mishima  decoration.                                 1830 

274-  Bowl.  D.  \\  in.  1830 
275>  Bowl.  D.  sJ  in.  Fine  light  chocolate  clay,  warm  light  brown  glaze.  Cloud  and 
crane  in  white  Mishima.  1840 


4*  THE   CATALOGUE 

GRANULATED   KARATSU  (Case  4) 

276.  Tea-bowl,  thick  walls.  D.  4^  in.  Soft  brownish  clay,  thick  white  glaze  strongly 
granulated.     Unglazed  below.  1600 

IRREGULAR   FORMS    (Case  4) 

277-  Squat  jar.  H.  if  in.  Coarse  light  reddish  clay,  thick  white  glaze  with  pinkish 
tinge.     Right  thread-mark.  1600 

278.    Cover  of  bowl.     D.  4I  in.    Light  salmon  clay,  light  gray  glaze  coarsely  crackled. 

1870 
KARATSU   TEA-JARS  (Case  4) 

279~299'  A  collection  of  tea- jars  representing  various  forms,  glazes,  and  dates  from 
1280  to  1830.  Of  these,  279  and  280  were  identified  by  Ninagawa  as  the  earliest  forms  of 
Karatsu.  The  clay  is  fine,  brownish  in  color,  dull  slaty  black  glaze,  with  iridescent  areas. 
Right  thread-mark.  Dated  1280.  281  is  peculiar  in  shape,  and  bears  evidence  of  great  age. 
Dated  1380.  282  is  dated  1400.  285  is  a  most  unusual  form,  tall  and  cylindrical,  and  has 
some  characteristics  of  Satsuma.  The  other  tea-jars  vary  greatly  in  form  and  glaze.  The 
clay  is  reddish-brown  or  grayish-brown,  rarely  fawn  or  yellow ;  the  glaze  is  olive-brown  or  dark 
grayish-brown,  rarely  yellow.  The  thread-mark  is  usually  right,  a  few  are  left,  and  a  number 
are  smooth-bottomed. 

SETO  (Case  3) 

The  village  of  Seto,  a  few  miles  from  the  castle  of  Karatsu,  formerly  possessed 
four  ovens.  These  have  been  for  many  years  extinct.  The  pottery  was  known  as 
Seto,  or  Seto  Karatsu.     The  two  following  bowls  have  been  identified  as  Seto. 

300.  Tea-bowl.  D.  4|  in.  Dull  brownish  clay,  transparent  underglaze,  greenish-brown 
overglaze.  1630 

301.  Tea-bowl.  D.  4J  in.  Coarse  reddish  clay,  thick  white  glaze,  overglaze  of  dark 
brown  and  fawn  within,  with  streaks  running  outside.  1700 

SHINOMINE  (Case  4) 

A  rough,  hard  pottery  with  brownish-red  clay,  transparent  glaze,  and  rich  over- 
glaze of  black,  blue,  and  other  colors,  was  made  at  Shinomine,  near  Karatsu. 

302.  Tea-jar.  H.  2/^  in.  Reddish-brown  clay,  thick  olive-brown  glaze  with  darker 
areas.  1680 

303-  Double  gourd-shaped  bottle.  H.  4  in.  Roughly  potted.  Fine  hard  brown  clay, 
thick  deep  brown  glaze,  bluish-white  overglaze,  flecked.  1750 

304.  Tall  cylindrical  jar.  H.  7^  in.  Sides  sliced.  Brown  clay,  warm  yellowish-brown 
glaze,  streaked  with  blue  and  light  fawn.  1750 

305.  Irregular-shaped  bottle.     H.  3^  in.  1780 

306.  Sauce-bottle.     H.  4  in.  1780 


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PROVINCE  OF  HIZEN 


PROVINCE   OF  HI  ZEN  43 

307.  Covered  jar.  H.  4f  in.  Reddish-brown  clay,  splaslies  of  olive-brown  glaze,  flecked 
with  fawn  on  cover  and  shoulder ;  on  upper  portion  and  cover,  squares,  dots,  jewels,  etc. ; 
and  around  body  running  vine,  sharply  impressed.  1800 

308.  Bottle.  H.  7I  in.  Coarse  light  red  clay;  underglaze  dull  reddish-brown;  thick 
black  glaze  running  from  neck,  ending  in  long  light  blue  drops.  1840 

309.  Bottle.  H.  6|  in.  Light  brown  clay ;  underglaze,  around  base  only,  dull  brown  ; 
middle  glaze,  light  yellow ;  overglaze  mottled  green  running  in  long  streams  to  base.        1840 

310.  Shallow  dish.    D.  7I  in.  1840 

311.  Handled  tea-jar.    H.  2f  in.  1850 

KUROMUTA  (Case  4) 

On  the  authority  of  an  intelligent  potter  of  Hizen,  the  following  objects  are 
classed  as  having  been  made  in  the  village  of  Kuromuta. 

312.  Bottle.  H.  8  in.  Globular  body,  long  cylindrical  neck.  Fine  reddish-brown  clay, 
thick  gray  underglaze ;  irregular  splashes  of  light  fawn  overglaze.  1780 

313-  Bottle,  with  thickened  rim.  H.  3  in.  Fine  hard  brown  clay,  cold  gray  glaze  with 
splashes  of  dark  and  greenish-gray  overglaze.  1780 

314-  Jar.  H.  2|  in.  Fine  reddish  clay,  light  brown  glaze  with  irregular  splashes  of 
thick  white  overglaze.  1800 

GOROSHICHI  (Case  4  and  Plate  I.  315) 

The  records  as  given  by  Ninagawa  and  others  state  that  Goroshichi  Takada,  in 
1530,  made  the  first  "blue  and  white"  soft  pottery  in  Hizen.  It  is  also  recorded  that 
Goroshichi  and  his  brother  Gorohachi  were  pupils  of  the  famous  Shonsui.  As  regards 
the  last  statement,  Mr.  Hiromichi  Shugi5,  a  distinguished  expert  in  these  matters, 
and  a  native  of  Hizen,  can  find  no  reliable  evidence  that  Shonsui  ever  made  pottery  in 
Hizen,  or  taught  the  art  in  that  province.  Goroshichi's  pottery  is  found  chiefly  in  the 
form  of  large  tea-bowls ;  and  so  famous  was  this  work  that  the  name  Goroshichi 
became  synonymous  with  tea-bowls  of  large  size. 

315-  Tea-bowl.  D.  5  in.  Fine  light  gray-drab  clay,  rich  white  glaze,  finely  crackled. 
Underglaze  decoration  of  conventional  flowers  and  scrolls  in  dark  and  light  blue.  1530 

Type  Ninagawa.     Part  V.,  Fig.  26. 

316.  Tea-bowl.  D.  5  in.  Light  brown  clay,  thick  white  glaze  crackled.  Underglaze 
decoration  of  pine,  bamboo,  and  plum  in  bright  blue.     Fret  about  rim  in  same  color.        1530 

317-  Tea-bowl.  D.  4J  in.  Brownish  clay,  white  glaze,  coarsely  crackled.  Encircling  bands 
above  and  below.     Clouds,  boat,  etc.,  in  bright  blue.  1530 

318.  Tea-bowl.  D.  Sf\  in.  Hard  brown  clay,  thick  white  glaze,  coarsely  crackled.  Inside, 
light  bluish  glaze  with  washes  of  white  overglaze.     Pine,  bamboo,  and  crane  in  blue.      1530 

319-  Tea-bowl,  somewhat  irregular  in  shape.  D.  5f  in.  Coarse  fawn  clay,  white  glaze. 
Rough  decoration  of  plum-tree  in  blue.  '53° 

This  may  have  been  made  by  Gorohachi. 


44  THE  CATALOGUE 

KAMEYAMA  (Case  4) 

A  hard  stone  pottery  bearing  the  written  m'as\i  Kameyama  was  made  at  Irahayashi 
Kuchi,  Nagasaki,  in  the  first  half  of  the  century.  Porcelain  was  also  made,  and 
though  many  of  the  pieces  were  in  good  taste,  the  work  did  not  attain  special  excel- 
lence. In  1830,  or  thereabouts,  clay  was  imported  from  China,  and  many  forms  were 
made.  Typical  Kameyama  pottery  has  a  hard  fine  reddish  clay,  and  an  even  pale 
bluish-gray  glaze,  with  decoration  of  flowers,  diapers,  as  well  as  stanzas  of  poetry,  in  a 
darker  blue. 

320.  Squat  jar.  D.  %\  in.  Hard  light  brown  clay ;  lower  half,  light  gray 
glaze;  upper  half,  white  glaze  in  drops  creeping  on  base.  Strongly  crackled. 
Spray  of  plum  blossoms  in  blue.     Artist's  name  written  ;  obscure.  1800 

321.  Bowl.  D.  4f  in.  Light  brown  clay,  thick  warm  gray  glaze.  Formal  foli- 
ated design  in  scalloped  panels  with  irregular  cross-lines  between  in  light  and  dark 
blue.  1800 

322.  Squat  jar.     D.  2j  in.     Fine  hard  brown   clay,  warm  gray  glaze  highly  lustrous. 
Sketchy  design  in  blue.     Kameyama,  etc.  (written).  1800 

323-     Small    plate.      D.  ^-f^  in.      Light  gray  clay,  thick   dull   bluish-gray 
glaze.     Blue  decoration,  brush-mark  of  white.      Kameyama  (writ- 
ten). 1840 

324.  Bottle.  H.  10  in.  Hard  brown  clay;  broad  zone  just 
below  neck  unglazed  and  impressed  with  comb-marked  indenta- 
tions ;  light  dull  bluish-gray  glaze.  1840 

325.  Cylindrical  flower-vase.  H.  4I  in.  Fine  light  brown 
clay,  thick  light  gray  glaze.  Sketchy  decoration  of  flowers  in  light 
blue.     Kameyama  and  inscription  (written).  1840 

The  inscription  states  that  the  clay  of  this  piece  was  brought 
from  China. 

326.  Tea-pot.      D.  3f  in.      Fine  reddish-brown  clay,  dull  warm  gray  glaze.      Flowers 
roughly  sketched  in  blue.    Kameyama  and  inscription  (written)  similar  to  last. 

1840      ^1 

HIRADO  (Case  4)  326 

The  name  Hirado  is  widely  known  throughout  the  world  from  the  exquisite  blue 
and  white  porcelain,  the  best  of  which  was  made  in  the  middle  of  the  last  century. 
The  following  piece  of  hard  pottery  is  identified  as  having  been  made  in  Hirado. 

327.  Plate.     D.  5^  in.     Coarse  light  brown  clay ;  greenish-gray  glaze,  coarsely  crackled. 
Rugged  rocks  with  trees,  distant  capes,  and  boat-sails  in  dull  blue  and  white.  1840 

• 
ARITA  (Case  4) 

328.  Bottle,  bulbous  body,  long  neck.     H.  8J  in.     Hard  light  reddish  stone  clay,  thick 
dull  white  glaze.  1800 


PROVINCE   OF  HIZEN 


45 


329.  Bowl.  D.  4J  in.  Hard  dark  brown  clay,  smooth  gray  glaze.  Around  rim  zodiacal 
signs;  below  these  a  band  of  wavy  lines  and  other  designs  in  dull  blue.  1800 

UTSUTSUGAWA  (Case  4) 

This  village  is  near  Yagami,  and  not  far  from  Nagasaki.  In  the  sixteenth  century 
a  Korean  potter  worked  here  for  a  while.  In  the  early  part  of  the  seventeenth  cen- 
tury the  oven  was  again  started  by  Tanaka  and  Shigodomi,  and  continued  until  the 
eighteenth  century,  when  work  again  ceased.  Within  recent  years  a  peculiar  pottery 
has  been  made  of  fine  red  clay,  chocolate  glaze,  and  white  overglaze  applied  with  wave 
motions  of  the  brush,  and  with  slight  decoration  in  color. 

330-  Food  bowl.  D.  5  in.  Fine  light  brown  clay,  transparent  white  glaze.  Outside, 
heavy  white  glaze  applied  with  brush ;  inside,  white  glaze  manipulated  with  finger.  Slight 
decoration  in  green  and  blue.  1820 

33^-  Covered  bowl.  D.  4f  in.  Clay  and  glaze  similar  to  last.  Decoration  of  wheel  and 
flowers  in  white,  green,  and  brown.  1830 

332-     Plate.     D.  i\  in.     Similar  to  last.     Pine  needles  in  dark  brown.  1830 

333*  Plate,  rim  scalloped.  D.  7J  in.  Decoration  and  leaf  and  vine  in  light  blue  and 
brown.  1830 

334-  Plate,  with  edges  squared.     D.  6  in.  1830 

335-  Tea-cup.  D.  zJ  in.  Light  brown  clay,  rich  cream-colored  glaze.  Vigorous  drawing 
of  pine  spray  in  brown.  1800 

This  object  was  purchased  in  Nagasaki  in  1802,  and  brought  to  Salem  in  the  ship  Mar- 
garet, the  first  ship  that  went  to  Japan  from  America.     It  is  placed  here  provisionally. 

YAGAMI  (Case  4) 

A  coarse  pottery  of  dark  red  clay  and  thin  glaze  with  splashes  of  yellow  has  been 
.  made  within  fifty  years  in  the  town  of  Yagami. 

33^-  Globular  jar.  H.  sf  in.  Coarse  brown  clay,  roughly  turned;  patches  of  trans- 
parent glaze  and  spots  of  thick  light  fawn  glaze.  1840 

337-  Jar.     H.  3  in.    Coarse  maroon  clay,  thick  olive-green  glaze  on  upper  half.  1850 

BOGASAKI  (Case  4) 

An  oven  was  established  in  the  little  village  of  Bogasaki,  near  Nagasaki,  in  1830. 
The  potter's  name  was  Hidekichi  Kamachi.  He  was  a  poet  as  well  as  a  potter,  and 
on  many  of  his  pieces  are  incised  or  written  poetic  inscriptions.  His  pieces  were 
made  for  the  tea-lover,  and  though  somewhat  rough  show  considerable  taste  and 
skill.  The  work  continued  with  numerous  interruptions  for  ten  years.  Some  of  his 
unsigned  work  has  been  variously  identified  by  Japanese  experts  as  Shigaraki,  Soma, 
and  even  Izumo. 

338-  FiRE-VESSEL.  H.  4J  in.  Light  brown  clay,  warm  gray  glaze,  circles,  stars,  bands, 
etc.,  in  white  Mishima.  1830 

339-  Incense-box.  D.  z-i^b  in.  Fine  reddish-brown  clay;  underglaze  dark  gray,  in  places 
nearly  black ;  splashes  of  rich  blue  overglaze  on  cover  concealing  decoration.  1830 


46 


THE   CATALOGUE 


04 


340 


The  two  preceding  pieces  were  given  to  me  by  Mr.  Kintiura,  an  artist,  whose  father  was  a 
friend  of  the  potter. 

340'     Square   box-like    vessel.      W.  2|  in.      Reddish-brown   clay;    outside,   unglazed; 
inside,  thick  warm  gray  glaze ;  rim  v/ith  thick  rich  blue  glaze.    On  side,  poem 
incised.     Bogasaki  (inc.).    Bo.  (imp.).  1830 

34^'     Beaker.     3J  in.     Inscription  in  blue.     Bogasaki  (written).  1830 

342-  Oblong  plate,  rim  scalloped.     L.  6f  in.     Similar  to  last.     Scrolls,  fan- 
shaped  designs,  etc.,  in  white  Mishima.  1830 

343-  Incense-box,  in  form  of  bell-tower.     H.  4  in.    Light  brown  clay,  light  gray 
glaze.     Mythological  animals,  etc.,  in  white  Mishima.  1830 

344-  Brush-holder.  H.  3J  in.  Fine  dull  light  brown  clay,  unglazed.  Band  of  fret  about 
rim  and  base  in  grayish-white  slip.  Japanese  harp  outlined  in  thick  brown  and  blue  glaze, 
with  bats  in  brown,  blue,  and  white.     Bogasaki  (inc.).  1830 

345-  Tea-bowl.  D.  5  in.  Coarse  light  brown  clay,  thick  light  gray  glaze.  Crane  and 
cloud  in  dark  olive-brown.     Basal  ring  roughly  notched.  1830 

34^'  Small  plate.  D.  4  in.  Thick  walls,  beveled  edge,  scalloped  inside.  Dragon,  circles, 
etc.,  on  inside  and  edge  in  white  Mishima.     Bogasaki  (inc.).  1830 

347*  Vase.  H.  4^  in.  Brown  clay,  warm  gray  glaze.  Decoration  of  houses  and  trees  in 
light  indigo-blue.  1830 

34^-  Oblong  cake-dish,  with  shell  supports.  L.  6|  in.  Fine  light  fawn  clay,  warm  gray 
glaze.     Bunjinga  decoration  in  light  blue.     Bogasaki  and  other  characters  (imp.).  1830 


^MM 


348 


3S0 


350-     Large  bowl.     D.  6  in.    Bogasaki  and  poem  written  in  blue.  1830 

35^-    Cake-dish.     D.  5I  in.     Coarse  dark  brown  clay,  dull  brown  glaze,  coarsely  seamed. 
Drops  of  blue  and  white  enamel  scattered  inside  and  out.     Bogasaki  (inc.).  1830 

AKAHIKO  (Case  4) 

Pottery  inscribed  with  the  written  mark  Mikawa  and  the  potter's  name  Akahiko 
bears  a  strong  resemblance  in  clay  and  glaze  to  Bogasaki.  It  is  brighter  in  appear- 
ance and  has  more  character.  The  pottery  differs  from  Bogasaki  in  having  white 
specks  in  the  glaze,  and  is  rarely  signed.     Pieces  are  extremely  rare. 


PROVINCE   OF  HIZEN 

352.     Tea-cup.     D.  3   in.     Reddish  clay,  thick  gray  glaze  specked  with  white, 
decoration  of  flowers  in  brown  and  blue.     Made  at  Mikawachi. 
Mikawa,  Akahiko  tsukuru  (written).  1820 

353-  Bowl.  D.  \%  in.  Fine  reddish  clay,  chocolate  glaze. 
Under-decoration  of  radish  and  leaves  in  black,  blue,  and  white. 
Made  at  Mikawachi.  1820 

354-  Bowl.  D.  4J  in.  Brown  clay,  thick  gray  glaze  with 
white  specks.     Turnip  and  leaves  in  white  and  blue.  1820 

355-  Vase.  H.  5f  in.  Coarse  red  clay,  thick  gray  glaze  with 
white  specks.  Large  fret  below.  Zigzag  lines  and  dots  above 
in  brown.     On  body  pendent  scallops  in  rich  blue.  1820 

356-  Square  cake-plate,  with  rounded  corners.  D.  5I  in.  Four  sides  with  shallow  scal- 
lops.    On  corners,  outside,  four  scrolls.     Inside,  mythological  bird.  1820 

357'  Cake-dish,  rim  octagonal.  D.  6  in.  Rough  light  brown  clay.  Outside  unglazed, 
with  fringe  of  formal  scrolls  in  thick  olive-brown  and  blue  glaze.  Inside,  bluish-white  glaze 
coarsely  crackled.     Mythological  animal  in  light  blue.  1820 


358.     Rest  for  cover,  cylindrical.     D.  2J  in.     Similar  to  last, 

359-    Vase.    H.  sf  in.    Grayish  clay  and  glaze.     Scroll  pattern  in  thick  blue  glaze.      1820 


Outside,  scrolls  in  blue. 

1820 


TOROKU-URA  (Case  4) 

Pottery  with  this  inscription  is  believed  to  be  the  work  of  some  potter  near  Naga- 
saki    It  is  not  unlike  some  specimens  of  Bdgasaki. 

360.  Oblong  tray,  corners  beveled.      L.  t^W  in.      Coarse  light  brown  clay,  warm  gray 
glaze,  spray  of  leaves  in  brown  inside.     Toroku-ura  (written).  1830 

SHOTO  (Case  4) 

A  bowl  of  fair  age,  resembling  Karatsu,  bears  the  impressed  mark  Shoto.  A 
square -handled  tray  of  dark  brown,  with  the  same  in  different  characters,  is  also 
identified  as  Hizen,  and  was  probably  made  by  the  same  potter. 

361.  Tea-bowl.  D.  4I  in.  Light  reddish-brown 
clay,  light  gray  glaze,  lower  part  unglazed.  Outside, 
three  characters  in  olive-brown.  Three  spur-marks 
within.     Shoto  (imp.).  1800 

Gift  of  Denman  W.  Ross. 

362.  Handled  cake-tray,  diamond-shaped.    L.  6^ 
in.     Dark  reddish-brown   clay,  brown   glaze   mottled  with   fawn, 
blue,  and  white  spiral-marks  on  handle,  and  on  inside  radiating 
figures  and  leaves  impressed.     Shoio  (imp.).  1800 


48  THE   CATALOGUE 

SHIROYAMA  (Case  4) 

A  bowl  in  the  collection,  having  a  somewhat  hard  clay  with  bluish  glaze  and  deco- 
ration, was  identified  by  an  intelligent  Hizen  potter  as  having  been  made  at  Shiro- 
yama,  near  Kameyama.  The  oven  ceased  baking  over  fifty  years  ago.  With  this  is 
associated  a  single  flower-holder,  repeatedly  identified  by  Japanese  experts  as  Hizen. 

363-  Bowl,  with  high  basal  ring.  D.  4^  in.  Light  brown  clay,  soft  light  bluish  glaze 
tinged  with  clay  showing  through.  Rough  decoration  of  formal  flowers  in  panels  in  blue. 
Inside,  band  of  spots,  rings,  and  character  in  blue.  1830 

364-  Single  flower-holder,  double  gourd-shaped.     H.  2\%  in.     Fine  brownish  clay,  rich 
mellow  grayish-fawn  glaze  coarsely  crackled.     Trees  and  houses  in  blue.     Kin-Jin 
(written).  1830      .^S 

SHOHAKU  (Case  4)  X, 

The  mark  Shohaku  is  found  impressed  on  pottery  made  in  the  village  of       364 
Shinomine  within  recent  years. 

365.  Wine-cup.  D.  2^  in.  Fawn  clay,  warm  gray  glaze.  Under-decoration  of  vertical  brush- 
marks  in  brown,  representing  basketwork.  Strong  spiral  line  incised  outside.  Inside,  en- 
circling spiral  and  brush  marks  in  brown.     Shohaku  (imp.)  1880 

SHIBATA  (Case  4)  ^ 

An  unglazed  tea-pot  of  very  light  fine  clay  bears  the  impressed  mark  of        g 
Shibata  Dentaro.     It  has  been  made  in  recent  years  at  Ureshino. 

366.  Squat  tea-pot.  D.  3f  in.  Light  clay,  nearly  white,  unglazed.  Boat  and  trees 
in  high  relief.    Modeled  by  hand.    Shibata  Dentaro  tsukuru  (imp.). 

i860 

367-     Double  square  trav.     L.  8  in.    Three  looped  legs.     Fine 
light  fawn  clay.     Very  thin,  made  on  mould,  unglazed.  i860 


URESHINO  (Case  4) 

In  the  town  of  Ureshino  was  formerly  produced  a  porcelain 
similar  to  that  of  Imari  Two  hundred  years  ago  many  forms 
of  pottery  were  made  in  this  place. 

368.  Cake-dish.  D.  6|  in.  Edge,  five  double  scallops.  Fine 
light  brown  clay,  unglazed.  Elaborately  carved  in  high  relief  with  design  of  crenulated 
scrolls.  Band  of  elongated  Greek  fret  at  base.  Fine  matting  as  groundwork  inside  and 
outside.  Around  walls,  inside,  peony  flowers  and  leaves.  In  bottom,  four  figures  and  pine. 
Rim  thick  and  grooved.     Three  scalloped  supports.  1700 

Gift  of  Hiromichi  Shugio. 

SOHA   (Case  4) 

In  1854-59  a  Ky5to  potter  by  the  name  of  Soha  went  to  Shiraishi,  in  Hizen,  and 
made  pottery  for  a  short  time,  following  Yeiraku  models.     His  work  is  extremely  rare. 


CASE  4 


ZZ7 


7TS    2.80  zt,     ivifj"?   ^*''  ^*''" 


rz'1 


ZZ6 


Ifl"* 


Z60 


Z/6 


'■iX  ^^  ^*'    ZVl  <  «    U^  VS,    ,8f    =^88    7=4 


)(*]Mno 


31Z        3Z0       316         3Z3 


l-jl         101       ZZO       Z67 


310 


J,'' 


3i-Z         35-^        3b-8  3i-7  aVJ-       335       3<»6  3SZ  3V0        3i-0 


33  8    3i-; 


3)Z 


"■^    ^    i^v  3^ 


370 


a/'i      313        3<,i 


36V 


3(o7 


1*8 


PROVINCE  OF   HIZEN 


PROVINCE   OF  BIZEN  49 

369-  Bowl.  D.  4f  in.  Light  fawn  clay,  underglaze  cream-colored  finely  crackled.  Out- 
side, rich  red  entirely  concealing  underglaze.  Decoration  of  clouds,  scrolls,  precious  coral, 
etc.,  finely  outlined  in  gold.     Character  in  light  brown  inside.  1854 

Gift  of  Thomas  E.  Waggaman. 

MIKAWACHI  (Case  4) 

The  porcelain  of  this  place,  known  as  Hirado,  has  been  celebrated  for  one  hundred 
and  fifty  years  for  its  beautiful  blue  and  white  and  marvelously  modeled  and  perfo- 
rated pieces. 

37^-  Shallow  bowl.  D.  5  in.  White  clay  with  reddish  tinge,  white  glaze  crackled. 
Chinese  figures  with  flags  in  blue.  1750 

37^-  Bowl.  D.  4J  in.  Thick  and  heavy.  Hard  reddish  clay,  thick  greenish-blue  glaze 
coarsely  crackled.  i860 


PROVINCE   OF   BIZEN 

This  province  produces  in  its  hard  reddish-brown  pottery  one  of  the 
most  characteristic  types  in  Japan.  Once  recognized,  it  can  rarely  be  con- 
founded with  the  pottery  of  other  provinces.  There  are  many  varieties, 
yet  a  certain  gradation  can  be  seen  from  the  earlier  forms,  resembling  in 
color  an  over-burned  brick,  to  the  slaty-blue,  and  through  various  shades  of 
red  to  specimens  resembling  bronze.  The  evolution  of  these  varieties  from 
a  primitive  form  can  be  easily  traced.  The  old  Bizen,  going  back  six  hun- 
dred years  or  more,  is  rough  and  unsightly,  being  rudely  potted  and  imper- 
fectly stoved.  From  this  rude  type,  with  better  wheels  and  ovens,  the  work 
gradually  improved. 

The  kind  of  objects  made  varies  with  every  province.  In  Hizen  there 
is  a  preponderance  of  bowls ;  in  Bizen  bowls  are  the  rarest  objects.  In 
Hizen  wine-bottles  are  very  scarce  ;  while  in  Bizen  bottles  of  various  kinds 
are  among  the  most  common  of  objects. 

IMBE  (Case  5  and  Plate  II.  372,  385,  404) 

The  name  Imbe,  as  applied  to  pottery,  is  derived  from  the  name  of  the  village  in 
which  it  is  made.  Pieces  recognized  under  this  name  are  made  of  a  hard  dark  gray 
clay,  with  a  dark  brick-red  or  brownish-red  exterior,  usually  with  fawn-colored  spots  of 
overglaze,  and  in  rarer  cases  completely  covered  with  this  overglaze  ;  in  other  instances 
it  may  resemble  dark  bronze,  or  even  appear  quite  black  with  glistening  and  roughened 
surface.  Such  are  a  few  of  the  varying  features  of  this  unique  pottery.  Nearly  every 
piece  bears  a  mark  of  some  kind,  usually  impressed.  These  marks  are  often  in  the 
form  of  circles,  squares,  and  lozenges,  within  which  are  the  characters  for  i,  2,  3,  10, 
etc.,  and  hence  called  maru  icki,  mam  ni,  mani  san,  mam  ju,  etc.  Pieces  almost 
absolutely  identical  will  often  bear  different  marks.    These  represent  the  work  of 


so  THE   CATALOGUE 

individual  potters  who  baked  in  a  communal  oven.  Ninagawa,  in  a  visit  to  Bizen,  got 
from  an  old  antiquarian  a  list  of  these  marks  purporting  to  represent  successive  gener- 
ations of  potters.  As  I  have  had  access  to  other  lists  of  marks,  equally  authoritative, 
with  successive  generations  indicated,  and  as  there  is  not  the  slightest  accordance 
between  any  of  them,  either  as  to  name  or  date,  they  have  all  been  rejected.  A  few 
of  the  marks  are  always  associated  with  the  best  work.  The  earliest  forms  are  rough 
and  unsightly.  The  height  of  the  art  was  evidently  attained  in  the  eighteenth  cen- 
tury ;  at  least  specimens  assigned  to  that  period  are  much  finer  than  subsequent  work. 
Those  of  the  best  period  resemble  bronze,  or  have  a  rich  fawn-colored  glaze  with  a 
surface  like  polished  wood.  The  modern  objects  made  for  foreign  trade  are  usually  in 
the  form  of  mythological  animals  or  deities.  These,  while  showing  some  excellence 
in  modeling,  do  not  approach  in  merit  the  earlier  forms  of  the  same  class.  Thin 
shallow  plates  made  on  a  mould,  usually  with  designs  of  flowers  in  high  relief,  have 
been  produced  within  thirty  years.  In  1864-65  an  attempt  was  made  to  decorate 
plates  of  this  nature  with  thin  colored  glazes  of  red  and  green.  Specimens  of  this 
essay  are  distinguished  only  by  their  rarity  and  ugliness.  With  a  sufficient  number  of 
specimens  for  comparison,  the  varieties  known  as  Migaki-te  (polished)  and  Hidasuke 
(fire  cord)  run  into  each  other ;  while  more  distinct  Ao  (blue)  Bizen  cannot  be  sepa- 
rated from  the  others,  as  they  bear  marks  identical  with  those  found  on  typical  Imbe. 
Besides  the  conventional  marks  of  circles,  lines,  etc.,  above  mentioned,  there  are  many 
others  bearing  the  names  of  potters.  Whether  these  objects  were  baked  in  separate 
or  in  communal  ovens  is  not  known.  I  can  get  no  record  of  their  history ;  and  so 
all  pieces  bearing  such  marks  are  placed  under  the  general  name  of  Imbe,  —  a  most 
unsatisfactory  way  of  classifying  a  large  number  of  objects,  and  yet  unavoidable. 

372'  Bowl.  D.  e,\  in.  Thick  and  heavy.  Dull  fawn  clay,  thick  glaze  of  light  fawn  inside 
and  out.  Within  basal  ring  strong  spiral  mark  turning  to  left.  Bowl  appears  moulded  by 
hand.  1370 

Type  Ninagawa.     Vol.  II.,  Fig.  29. 

Ninagawa  says  that  a  document  accompanying  this  specimen  states  that  on  the  occasion 
of  a  great  storm  the  bowl  was  washed  ashore  near  the  mouth  of  a  river  in  Sado,  on  the  north- 
west coast  of  Japan.  It  was  found  by  a  fisherman,  who  sold  it  to  Kodama  Moyemon,  of 
Sawami  village  j  later  it  came  into  the  possession  of  Ikuta  Senan,  and  remained  in  the  family 
for  two  hundred  years.  In  1830  Haramiyama  Gaho  brought  it  to  Tokyo,  and 
afterwards  it  came  into  the  possession  of  Ninagawa. 

373*     Low  JAR,  for  rinsings.     D.  5f  in.     Rudely  potted.     Dark  reddish  clay, 
glossy  reddish-brown  glaze,  mottled  with  fawn.     Surface  roughened.  1370     ^ 

Type  Ninagawa.     Vol.  II.,  Fig.  30. 


\^ 


374 


374*  Low  JAR.  D.  7I  in.  Dull  red  clay,  thin  dark  red  glaze,  base  and  lower 
portion  mottled  with  fawn.     Mark  impressed.  1570 

Type  Ninagawa.     Vol.  II.,  Fig.  32. 

375-  Water-jar.  D.  7I  in.  Tapering  sharply  inward  from  middle  to  project- 
ing base,  and  flaring  rim.  Upper  slope  with  a  circle  of  round  knobs.  Blackish- 
red  glaze,  smooth  and  glossy.     Large  area  of  fawn.     Mark  impressed.         1670 

Type  Ninagawa.     Vol.  II.,  Fig.  31.  375 


O 


PROVINCE   OF  BJZEN  51 

Roughly  potted,  looped  handles.   Dull  red  clay, 


376-   Flower-vase,  bottle-shaped.   H.  gf  in. 
dull   greenish  -  gray  glaze. 
Mark  impressed.  1500 

377"'379-  Bottle  and 
JARS.  1 530-1 580 

380.  Water-jar,  octago- 
nal. H.  6  in.  Yoshimura 
(inc.).  1680 

381.  Water-jar.  H.  7J 
in.  Pottery  cover,  looped 
handles.     Maru-ji  (imp.).    Character  on  cover  incised.         1680 

382.  Tea-bowl.    D.  45  in.     Smooth  dull  red  glaze,  on  one 
side  nearly  black  with  drops  of  fawn.     Ka-ichi  (imp.).  1680 

383-     Squat  bottle.     H.  2  in.    Bright  red  glaze,  rich  over- 

1680 


s    e 


382 


381 


glaze  of  fawn  on  shiny  black  area. 

384.  Double  gourd-shaped  bottle,  used  as  Netsuke.  H.  if  in.  Purplish-red  glaze 
mottled  with  darker  areas.  Drop  of  light  fawn,  gold  and  silver  mounting  around  mouth, 
and  silver  band  with  ring  about  body.  1680 

An  exquisite  bit  of  work. 

385.  Wine-bottle.    H.  6f  in.    Square  body,  slender  cylindrical  neck,  four  short  supports. 
Red  Bizen  glaze,  rich  fawn   second   glaze ;    light   fawn  overglaze   running  from 
shoulder  on  one  face.     Character  for  longevity  on  one  side  in  relief.     Mark  im-      ^^a 
pressed.  1700      ^*^ 

A  rare  and  beautiful  example.  385 


386.    Incense-burner,  in  form  of  Hotel.    H.  3}  in.    Dark  reddish-brown  clay  and  glaze  mot- 
tled with  areas  of  fawn.     Eight-rayed  figure  in  circle  impressed.     Yagayemon  (inc.).         1700 

387-403-    Various  forms  of  Imbe,  1700-1780 


'"l^ 


387  388 


393  394 


399 


400 


401 


402 


(^ 


403 


404 


388  Kaku-ichi,  389  Yotsune,  390  Maru-ichi,  393  Ichi,  397  Maru-san,  398  Cho,  399  Cho, 
400  MorHYaP),  401  Yei,  402  Teraf 


s» 


THE   CATALOGUE 


404-  Wine-bottle  for  offerings.  H.  8f  in.  Oviform  body,  tapering  to  a  long  and  slen- 
der neck.  Rich  dark  reddish  glaze,  glossy  and  smooth,  resembling  bronze.  Large  areas 
of  fawn.     Mark  impressed.     A  very  remarkable  example  of  Imbe.  1780 

405—425.    Various  forms  of  Imbe.  1780-1830 


±  ©  ^^  /^  d)  A 


405 


407 


408    410 


411 


413 


414 


419 


420 


/^  e 


421 


423 


424 


426 


405  Jo,  407  Maru-ni,  410  Yama-jo,  413  Maru-san,  414  Fuji-hachi,  416  75-/,  419  Jo-ichi, 
420  Kimura-uji,  a,z\Riku,  423 /J,  424  Yama-maru. 

426.    Wine-bottle,  deeply  constricted.    H.  6|  in.     Red  Bizen,  with  rich,  mottled  black 
overglaze,  glossy.     Mark  impressed.  1830 

427-445-    Various  forms  of  Imbe.  ,^»B^^  1830-1870 


08 


® 


@ 


443 


444 


446 


428  429  43»  432  438 

441  Sada  nao,  443  Totei,  444  Ichi  Jo. 

44®*    Paper-weight  (crab).    Longest  dimension  4f  in.     Dull  reddish  clay.    Tips  of  large 
claws  and  eyes  touched  with  white.     Mctsatomo,  Dai  Nippon  Imbe  to  (imp.). 

1878 
447~45^*    Various  forms  of  Imbe.  1878 

IMBE,  WITH  COLORED  GLAZES 

451.  Little  plate.  L.  3I  in.  Moulded.  Design  of  flower  inside  in 
relief.  Fine  light  red  clay.  Design  covered  with  green  and  red  transparent 
glaze.  1853 

452.  Plate,  in  form  of  pecten.  D.  5^  in.  Moulded.  Dark  Bizen  clay. 
Inside,  figures  in  reUef,  glazed  white,  blue,  red,  and  green.  Kamamoto 
Kimura  Kinko  do  (in  relief).  i860 

IMBE,   WITH    MARK   TERAMI 

453.  Figure  of  woodsman  with  axe.  Terami  Gorobei  saku  and  kakihan 
(inc.).  1840 


PROVINCE   OF  BIZEN 


53 


454-  Hanging    flower-vase,   in   form  of  two  chrysanthemums  and  leaves,  beautifully 
moulded.     W.  5I  in.     Terami  (imp.).  1850 

455-  Cylindrical  flower-vase,  with  graceful,  looped  handles.     H.  6J  in. 
Terami  (imp.).  1850 

456*.  Hanging  flower-vase,  H.  4|  in.  Rude  trunk  of  tree.  Man  (imp.),    i860 


456 


4S8 


4S9 


463 


tV 


46s 


^ 


o 


466  467 

459  Kan,  463  obscure,  465  Roku,  474  Yama. 
457~474-    Tea-jars,  showing  all  the  varieties  of  Imbe. 


468 


f 


I 


474 


1550-1750 


MORI    (Case  5) 

In  1840  Mori  Rinzo  made  pottery  in  the  village  of  Imbe.     The  mark  is  rare. 

475*     Incense-box,  form  of  Hotel.     L.  2J  in.    Light  gray  clay,  glistening  glaze        J 
mottled  with  dark  areas  and  fawn.     Mori  (imp.).  i86o      aSv 

VARIETY   MEGAKI-TE    (Case  5)  47S 

In  this  form  the  clay  is  finely  manipulated,  and  the  color  is  a  steel  -gray,  either 
glossy  or  dull. 

A  few  pieces  only  show  merit. 


476,  477-    Tea-jars. 


1600  and  1680 


478-     Plate.     D.  8^  in.    Flowers  in  relief   inside,  moulded.     Dull  light 
blue  with  tinge  of  red.    Mark  impressed.  175° 

479'    Double    gourd    wine-bottle,      H.    3I    in.      Greenish-gray    and 
glossy.    Encircling  lines  sharply  marked  on  body.    Mark  impressed. 

1780 


477 

o 

478 


54  THE  CATALOGUE 

480.  Water-jar,  with  pottery  cover,  having  section  of  bamboo  for  handle.     H.  sJ  in. 
Surface  covered  with  basket  impressions.     Hard,  fine  gray  clay,  glossy 

light  brownish-gray  glaze.    yj-<V/4/ (imp.).  1800 

481,  482.    Wine-bottles.  1830  and  1870 
481  Maru-ni.  480  431 

VARIETY  AO  (blue) 

In  this  variety  the  color  merges  into  a  pronounced  slaty-blue. 

483-    Low  BASKET-SHAPED  VESSEL.     D.   sf  in.     Light  bluish-slate.     Inside,  thick  white 

glaze    splashed.     Basket   design   strongly  moulded  and  incised.      Tachibana 

(inc.).  1870  %-. 

VARIETY   HIDASUKE 

Pottery  known  as  Hidasuke  is  a  coarse  unglazed  product  showing 
glistening  light  red  marks  crossing  the  surface  irregularly.  This  appear- 
ance is  said  to  be  produced  by  winding  wisps  of  wet  straw  around  the 
vessel  before  firing.  Kyoto  pottery,  bearing  the  mark  of  Tsuyen,  pre- 
sents imitations  of  this  style.  It  is  impossible  to  find  the  slightest  merit  in  the  pot- 
tery save  what  its  rusticity  might  suggest,  though  a  Japanese  authority  in  1700  says 
that  the  best  forms  among  the  old  Bizen,  and  those  most  esteemed,  are  Hidasuke ! 
The  name  is  derived  from  tasuke,  a  cord  worn  by  a  girl  to  keep  back  her  long 
sleeves  while  engaged  in  work,  and  Hi  (fire),  as  the  marks  come  out  red  on  the 
vessel 

484-491.      TeA-JARS,  water-jars,  BOTTLE.  1580-1750 


^ 


483 


484  485 


■k  *^'^- 


© 


4?7  488  491 


CASE  5 


tfii-  '<36        SS"*       "iSs-       "lOO     3R6         '•il         S-iZ      ^16  «,|Z  -i??  VSt  '"'S 

'"''       -^      "-'      ,^ 


3<tl         HIST     3^3     *«Z8      '<V8  HHh    'ti'l  HS'i  '-"'0       ^T?  "i**  "f^S 


"in  IS'f 


•iva 


396 


'lb'*  "iST 


^^2        »<8^     "jS?     'tisi' 


PROVINCE  OF  BIZEN 


PROVINCE   OF  BJZEN 


i& 


VARIETY   SHIRO  (white) 

In  this  form  the  substance  is  nearly  white.     The  objects  are  rare  and  absolutely 
without  merit. 


492.    Flower- VASE,  with  looped  handles.     H.  7J  in. 


1850 


OKAYAMA  (Case  5) 

In  the  early  part  of  this  century  pottery  bearing  the  impressed  mark  of  Okayama 
was  made  in  this  town.  Specimens  are  extremely  rare.  In  1878  white  clay  was 
either  discovered  in  Okayama  or  brought  there  from  Satsuma,  and  an  attempt  was 
made  to  imitate  white  crackled  Satsuma  without  decoration.  The  pieces  were 
small,  usually  in  the  form  of  tea-pots  and  cups.  An  agency  was  established 
in  Tokyo,  but  the  essay,  from  its  extreme  softness,  proved  a  failure. 

493-     Bottle.     H.    ioJ  in.    Light  fawn  clay,  light  fawn  glaze,  finely  crackled. 
Okayama  (imp.). 


493 


494-  Tea-cup.     D.  z^V  in.     White  clay  and  transparent  glaze  coarsely  crackled. 

495-  Tea-pot.     D.  2J  in.     Same  as  last. 


1800 
1878 
1878 


MUSHIAGE  (Case  5) 

In  1830  Igi  Sanyensai  established  an  oven  in  the  little  seaside  village  of  Mushiage, 
and  invited  Makudsu,  of  Kyoto,  to  take  charge  of  the  work.  The  pieces  were  mostly 
made  for  the  tea  ceremony.  They  bear  the  impressed  mark  Mushiage,  and  some- 
times the  additional  mark  of  Makudsu. 

49^*  Tea-bowl,  slightly  irregular  in  shape.  D.  5  in.  Light  yellowish  clay,  with  deep 
orange  tinge ;  light  fawn  glaze  with  light  greenish-blue  areas.  Landscape  in  brown  with 
white  dots.  Inside,  just  below  rim,  band  of  stars  in  white  Mishima.  Mushiage  and  Makudsu 
(imp.).  1830 

497-  Tea-bowl,  irregular  in  shape.  D.  3f  in.  Dead  fawn  clay,  clear  gray  glaze,  with  rude 
splash  of  brown.     Roughly  made  in  imitation  of  Karatsu.     Makudsu  (imp.).  1830 

49^*  Tea-jar.  H.  3J  in.  Reddish  fawn  clay,  rich  bright  brown 
glaze,  with  darker  areas  resembling  Takatori.  Stream  of  rich  white 
overglaze.     Mushiage  (imp.).  1830 

499-  Bowl.  D.  a,\  in.  Thick  and  heavy.  Light  yellowish  clay, 
thick  white  glaze.  Rough  sketches  of  figures,  bamboo,  etc.,  and 
encircling  bands  in  dull  blue  underglaze.  Mushiage  and  Makudsu 
(imp.).  1830 

500.  Bottle.  H.  9J  in.  Thick  and  ponderous.  Fine  reddish  clay ;  thick  gray  glaze  with 
minute  black  spots ;  thick  greenish-blue  overglaze  on  neck  and  shoulder ;  over  this  thick 
cream-white  glaze  running  in  streams.     Mushiage  (imp.).  1830 

501.  WiNE-BOTTLE.     H.  6J  in.     Hotel  moulded  and  applied  on  side. 
This  is  evidently  an  Imbe  bottle  glazed  by  Makudsu. 


$6  THE  CATALOGUE 


PROVINCE   OF   TSUSHIMA 

The  island  of  Tsushima,  lying  between  the  southern  end  of  the  Korean 
peninsula  and  Japan,  has  been  for  hundreds  of  years  the  home  of  potters 
who  have  followed  Korean  models  in  their  work.  Information  in  regard  to 
the  early  potters  and  their  places  of  work  is  meagre.  Among  the  contem- 
porary potters  of  Enshiu's  time,  seven  potters  of  Tsushima  are  mentioned 
as  worthy  of  recognition.  The  typical  pottery  is  most  characteristic  and 
unmistakable.  The  clay  is  soft,  light  fawn  in  color,  sometimes  with  pinkish 
areas,  often  with  white  Mishima  decoration,  rarely  black,  and  glaze  gener- 
ally without  lustre.  Specimens  are  occasionally  seen  which  are  likely  to  be 
confounded  with  early  Satsuma,  or  with  early  Tosa,  this  confusion  resulting 
from  the  Korean  strain,  if  I  may  use  the  expression,  which  runs  through  all 
these  essays. 

SHIGA  (Case  6  and  Plate  III.  508,  509) 

The  pottery  identified  as  Shiga  is  very  distinct  in  its  character.  It  is  specially 
marked  by  pinkish  tinges  and  areas  in  its  glaze.  No  information  is  at  hand  in  regard 
to  the  early  potters  of  this  village. 

502.  Bowl.  D.  5J  in.  Light  fawn  clay,  thick  light  gray  glaze,  with  pinkish  areas.  Inside, 
deep  pink  tinge.  Band  of  fret  around  rim,  and  cross-lines,  like  lattice-work,  in  white 
Mishima  on  body.  1700 

504.  Bowl.  D.  4I  in.  Fine  reddish  clay,  thick  gray  glaze  with  pinkish  areas,  crackled. 
Decoration  of  bamboo  and  poem  in  white  slip.  1750 

505.  Water-jar,  with  perforated  cylindrical  handles,  vertical  on  side.  D.  6^  in.  Fine 
warm  fawn  clay ;  underglaze,  transparent ;  overglaze,  grayish,  with  warm  fawn  tinges ;  within, 
reddish.     Decoration  of  scallops  about  rim,  and  bands  below  in  white  slip  and  olive-brown. 

1780 

506.  Square  box.  W,  2|  in.  Very  thin  walls  with  rounded  comers  indented.  Light  fawn 
clay,  fawn  glaze  with  pinkish  tinge.  On  sides,  jewels,  and  on  cover  mythological  animal  in 
white  Mishima.  1780 

507*.     Bowl.     D.  5]^  in. 

508.  Hand-warmer  (.'),  in  form  of  owl.  H.  8J  in.  Fine  fawn  clay  with  orange  tinge, 
thick  light  gray  glaze.  1820 

Gift  of  W,  S.  Bigelow. 

In  1804  a  potter  named  Yoshida  Mataichi  opened  an  oven  in  Shiga,  and  made 
pottery  after  Korean  models.  Signatures  are  rarely  seen.  He  also  made  porcelain, 
using  the  impressed  mark  of  Shiga. 


PROVINCE   OF  TSUSHIMA  57 


509'     Bowl.     D.  4^  in.     Light  brown  clay,  light  fawn  glaze  with  gray  areas  and  pinkish 
stains.     Plum-tree  in   indigo   blue.     Shiga   (imp.   and 
written).  1804 

510.  Shallow  bowl.  D.  4}  in.  Fine  fawn  clay; 
warm  yellowish  glaze,  with  pink  areas,  crackled.  Shiga 
(imp.).  1820      ^\^       *3|)\^* 


^        £ 


YAHEDA  (Case  6  and  Plate  III.  512) 

Among  the  early  potters  of  Tsushima  was  one  509  510 

by  the  name  of   Yaheda,  who   made  bowls  after 
strictly  Korean  models. 

512.  Bowl.  D.  4J  in.  Fine  light  fawn  clay,  light  gray  glaze  with  small  round  pinkish 
spots,  coarsely  crackled  below.  Crane  in  blue  and  white  Mishima.  Basal  ring  with  three 
notches.  1680 

513-  Bowl.  D.  4J  in.  Grayish-fawn  clay  and  glaze.  Bands  of  stars  and  vertical  lines 
about  rim,  inside  and  out  and  below,  and  vertical  zigzag  lines  on  body  in  white  Mishima. 

1700 

515*     Bowl.     D.  5J  in.     Irregular  outline.     Light  yellowish-fawn  clay,  yellow  glaze  of  same 

color  with  bluish-gray  areas  about  rim.     Right-hand  spiral  on  base.  1790 

This  bowl  is  identified  as  Yaheda,  though  it  is  dated  no  years  after  the  original  potter  of 

that  name. 

516.  Low  CUP,  with  vertical  sides  and  flat  bottom.  D.  2|  in.  Light  warm  gray  clay  and 
glaze.  1790 

517-  Bowl,  one  end  abruptly  flattened.  D.  4J  in.  Fawn  clay,  warm  grayish  glaze  with 
fawn-colored  areas.  Cloud  and  crane  in  white  and  blue  Mishima,  with  brush-marks  of 
white.  1800 

SEN   SAKU  (Case  6) 

A  shallow  bowl,  bearing  the  impressed  mark  of  Sen  Saku,  has  been  identified  as 
Tsushima. 

518.    Shallow  bowl.     D.  sJ  in.     Fine  light  brown  clay,  thick  warm  gray  glaze  with  dark 
pink  areas.     Zigzag  lines  in  basket-work.     Inside,  stars  and  swastika,  and 
outside,  bands  and  stars  in  white  Mishima.     Sen  Saku  (imp.).  1750 


TSUSHIMA,   IN    GENERAL  (Case  6) 

The  following  objects  are,  with  perhaps  few  exceptions,  unquestion- 
ably Tsushima.  Beyond  this  mere  fact,  no  information  can  be  obtained 
about  them.  S'8 

519,  520.    Bowls.  1700-1800 

521.    Bowl.     D.  5J  in.     Fine  fawn  clay,  light  greenish-gray  glaze  with  light  orange  areas 
outside  and  in.     Thin  walls,  roughly  turned.  1700 

Gift  of  Denman  W.  Ross. 


S8  THE  CATALOGUE 

522-524.     Bowls.  1700-1800 

The  three  following  bowls,  though  differing  widely  from  typical  Tsushima,  have  been 
identified  as  Tsushima,  though  they  certainly  resemble  some  forms  of  Karatsu.  They  all 
bear  an  impressed  mark  in  the  form  of  a  conventional  cloud.  Two  specimens  are  known 
outside  this  collection,  —  one  in  the  British  Museum  and  the  other  in  the  collection  of  the 
Royal  Worcester  works. 

525.  Flaring  bowl.  D.  s§  in.  Roughly  turned,  sliced  on  one  side.  Fine  hard  fawn  clay, 
thick  gray  glaze.  Basal  ring  notched.  Right-hand  spiral  line  on  bottom.  Cloud  mark 
impressed.  Eighteenth  century 

526.  Bowl.  D.  4I  in.  Fine  light  fawn  clay,  fawn  glaze  with  grayish  tinge.  Clouds  and 
crane  in  white  Mishima.     Cloud  mark  impressed.  Eighteenth  century 

527.  Bowl.    D.  s|  in.    Rim  slightly  elevated  and  indented  in  three  places.    Fine       (SJO 
dull  brown  clay,  yellowish-fawn  glaze,  finely  crackled  and  iridescent.       Right-hand         526 
spiral  on  base.     Cloud  mark  impressed.  Eighteenth  century 

528.  Bowl.  D.  4^  in.  Thick  walls.  Fine  hard  clay,  light  gray  glaze  with  washes  of  thin 
white  overglaze  on  one  side.  Decoration  of  large  flowers  incised  and  filled  with  dark  brown, 
also  shaded  with  brush-marks  of  brown.  This  bowl,  though  not  signed,  is  placed  here  on  the 
authority  of  others- 


PROVINCE   OF   TOSA 

The  pottery  of  this  province  presents  but  few  types,  and  these  with  rare 
exceptions  are  unsigned.  The  usual  form  is  seen  in  simple  bowls  with 
decoration  of  bamboo,  plum,  and  pine  in  pale  blue,  under  a  yellowish-white 
or  bluish-white  glaze.  Within  recent  years  large  pieces,  with  bluish-white 
crackled  glaze  and  elaborate  carving,  have  been  made. 

SHOHAKU   (Case  6  and  Plate  II.  530) 

The  records  are  conflicting  in  regard  to  Odo  pottery.  Ninagawa,  in  one  account, 
says  that  among  the  artisans  brought  back  from  Korea  in  1 598  was  a  potter  named 
Shohaku,  who  settled  in  the  village  of  Odo  and  made  pottery,  following  Korean 
models,  and  shortly  after,  discovering  a  good  clay  near  Odo,  began  the  making  of 
tea-bowls  with  colored  enamels.  Another  memorandum  of  Ninagawa  says  that  the 
Korean's  name  was  Butsuami,  and  his  successor  was  Shohaku,  who  first  studied  with 
the  Korean  and  afterwards  with  Ninsei.  Another  expert,  Mr.  Tanimura,  informed  me 
that  the  first  Odo  potter  was  Shohaku,  who  was  succeeded  by  Saburobe,  and  that  suc- 
cessive generations  were  known  by  the  latter  name ;  finally,  the  author  of  Toki  Shoshi 
definitely  states  that  Odo  pottery  was  established  by  Kuno  Sh5haku,  a  pupil  of  Ninsei, 
in  1653.  He  shortly  after  went  to  Osaka,  to  which  place,  in  1673,  a  potter  by  the 
name  of  Morita  Mitsuhisa  was  sent  by  the  lord  of  Tosa  to  study  under  Shohaku. 
Merita  also  visited  other  potteries,  and  returning  to  Odo,  made  tea-bowls  and  other 


PROVINCE   OF  TOSA  59 

utensils.  In  1 804  the  oven  was  removed  to  Nochazan,  and  the  pottery  was  known 
under  that  name. 

The  three  following  pieces,  by  their  evident  age,  may  be  reasonably  ascribed  to 
Sh5haku. 

529.  Tea-bowl,  uneven  rim.  D.  5J  in.  Fine  fawn  clay,  decoration  of  bird  and  tree  in 
blue  enamel.  1653 

It  is  possible  that  this  bowl  may  have  been  made  by  Ninsei  in  Odo. 

530.  Tea-bowl.  D.  4J  in.  Strongly  turned.  Fine  light  fawn  clay ;  thick  yellowish-fawn 
glaze,  finely  crackled ;  thick  white  overglaze  about  rim.  Overglaze  decoration  of  lobster  in 
dull  thick  red,  and  dwarf  bamboo  in  green  vitrifiable  enamels.  Lobster  outlined  in  gold, 
which  may  have  been  a  subsequent  addition.  1653 

Type  Ninagawa.     Part  V.,  Fig.  17. 

531.  Bowl.  D.  i,\  in.  Brownish  clay,  dull  light  fawn  glaze.  Decoration  of  bamboo, 
plum,  and  pine  in  pale  blue,  delicately  drawn.  1653 

ODO   (Case  6  and  Plate  II.  544,  S4S) 

532-     Square  cake-dish.     W.  6J  in.     Corners  fluted,  rim  crenulated.     Light  fawn  clay  and 

glaze,  strongly  crackled.     Inside,  scrolls  and  bands  in  light  blue.  1730 

533~535'     Bowls  and  incense-burner.  1730-1750 

The  incense  burner  534  has  the  mark  Asa  written. 

53^'  Bowl.  D.  5^  in.  Hard  fine  fawn  clay,  fawn  glaze,  sharply  crackled. 
Under  decoration  of  bamboo,  plum,  and  pine  in  blue  and  white,  delicately 
drawn.     Deep  right-hand  spiral  on  bottom.  1780 

537*  Bowl.  D.  i,\  in.  Light  fawn  clay  and  glaze  finely  crackled.  Under  decoration  of 
bamboo,  plum,  and  pine,  and  encircling  lines  above  and  below  in  pale  blue.  Right-hand 
spiral  below.  1780 

This  represents  an  early  form  of  the  typical  Odo  bowl. 

538,  539-      Bowls.  1780 

540-  Heavy  bowl.  D.  8|  in.  Fine  fawn  clay  and  glaze.  Rich  decoration  of  tree  trunk 
and  plum  blossom  in  indigo  blue.  1780 

54^'    Tea-bowl.     D.  3§  in.     Straight  sides.     Decoration  very  gracefully  drawn.  1780 

Differs  from  typical  bowl  in  form  and  in  the  absence  of  encircling  bands. 

Gift  of  Bunkio  Matsuki. 
542.     Jar.     H.  8J  in.     Exceedingly  light  and  thin.     Fine  hard  light  clay,  clear  cream  glaze 
with  faint  pinkish  areas.     Landscape  in  bright  blue.     Encircling  lines  of  blue  on  shoulder 
and  near  base.     Bottom  indented,  glazed  with  double  circle  of  blue  lines.    Glaze  widely 
crackled  and  punctured.  1780 

A  remarkable  example. 

Gift  of  Denman  W.  Ross. 
543'    Rest  for  tea-pot  cover.  1810 

544.  Bowl.  D.  4I  in.  Fine  light  brown  clay,  rich  gray  glaze  finely  crackled.  Decora- 
tion consisting  of  encircling  bands,  bamboo,  plum,  and  pine  in  blue,  with  blossoms  in  white. 
Right-hand  spiral  below.  1855 

Type  Ninagawa.    Vol.  V.,  Fig.  18. 


6o  THE   CATALOGUE 

545.  Screen  for  writing-table.  H.  8f  in.  Light  fawn  clay,  bluish-white  glaze  with  light 
fawn  areas.  Chrysanthemum  moulded  in  high  relief.  On  obverse  side,  girl  with  small  harp 
resting  on  mat,  with  poem  inscribed,  and  leaves.  Edges  moulded  in  lines,  border  with  scroll 
lines  impressed.  Recent 

Gift  of  Tadamasa  Hayashi. 

54^'    Water-vessel.  Recent 

547*     Tea-jar.     Odo  (imp.).  Recent 

SOKAN   (Case  6)  ^' 

Records,  apparently  reliable,  state  that  an  immediate  successor  of  Shohaku  was  a 
potter  who  made  Raku,  and  signed  his.  pieces  with  the  impressed  mark  Sokan.  His 
work  may  be  regarded  as  extremely  rare.  There  is  another  record  of  a  Sokan  who 
lived  in  Tokyo  fifty  years  ago.  He  was  a  tea-master,  built  an  oven  in  his  garden,  and 
also  made  Raka  The  following  piece  is  accredited  to  the  Tosa  Sokan  on  account 
of  its  great  age. 

548.  Incense-box  (rabbit).  L.  2|  in.  Coarse  dull  reddish-brown  clay.  Outside  unglazed. 
Inside,  bright  red  Raku  glaze.     Sokan  tsukuru  and  kakihan  (imp.).  1680 


it 


KOCHI   (Case  6) 

The  following  objects  are  known  as  Kochi,  from  the  name  of  the 
town  in  which  they  were  made.  No  record  is  at  hand  in  regard  to  the 
potter  or  the  oven. 

549'     WiNE-BOTTLE  (doublc  gourd).     H.  8  in.     Hard  stone  clay,  lower  hdf, 
rich  reddish-brown  glaze;  upper  half,  smooth  light  gray  glaze,  with  under-  548 

decoration  of  dancing  boys  in  dark  gray,  roughly  sketched.     About  rim  dark 
gray  band  notched.  1850 

Gift  of  W.  S.  Bigelow, 

55^"     Sauce-bottle,  after  Odo  style,  with  grass  and  flowers  instead  of  the  usual  design. 

1850 

551.     Oviform  vase,  with  long  cylindrical  neck.     H.  loj  in.     Fawn  clay,  thick  warm  gray 
glaze  with  darker  spots.  185 


o 


552-  Small  plate.     D.  4f  in.    Light  cream  white  clay,  unglazed.     Pine,  crane,  and  turtle 
moulded  in  relief  inside.  i860 

An  identical  form  is  made  in  Imado,  Tokyo. 

553-  FooD-BOWL.     D.  45  in.     Hard  light  gray  clay,  transparent  glaze.  1870         ^ 

KOHEI  (Case  6)  >^ 

No  record  is  at  hand  regarding  Kohei ;   he  was  probably  an  amateur      "TT 
potter  of  Odo  village. 

554.     Box,  in  form  of  screen-box.     L.  2|  in.     Fine  light  fawn  clay  and  glaze. 
Kohei  incised  on  bottom.     Cross  incised  inside  cover.  1850 

Kohei  may  also  be  read  Takahira. 


SS4 


PROVINCE   OF  SETTSU  6z 

YASAN  (Case  6) 

Pottery,  bearing  the  impressed  mark  of  Yasan,  having  no  special  merit,  judging 
from  a  single  specimen  in  the  collection,  has  been  made  recently  in  Tosa. 

555-     Box,  in  form  of  mortar,  with  modeled  handle   on   box-cover.     H.  2^  in.     Thick 
walls.     Hard  reddish-fawn  clay,  shiny  yellow  glaze  with  wood  graining  in  reddish- 
fawn.     Slight  decoration  of  leaves  and  flowers  impressed.     Yasan  (imp.)  on  bottom 
and  cover.  1880 


TOSA  (Case  6) 

Under  this  name  are  grouped  the  tea-jars. 
556.     Tea-jar.     H.  3^^  in.     Coarse  chocolate-brown  clay  with  rich  brown  glaze,  darker 
brown  glaze  on  shoulder,  running.     Said  to  have  been  made  by  Shohaku.  1630 

557-    Tea-jar.     H.  4I  in.    Light  dead  chocolate-brown  clay  and  glaze  with  a  few  light 
fawn  spots.  1680 

558-560-    Tea-jars.  1750-1800 

PROVINCE   OF  SETTSU 

The  province  of  Settsu  has  attained  but  little  celebrity  for  its  ceramic 
products.  In  early  years  the  delicate  and  refined  essays  of  the  Naniwa 
oven,  and  before  these  even,  the  Takahara  pottery,  following  Korean 
models,  were  justly  appreciated.  In  later  years  the  Sanda  celadon  has  given 
some  fame  to  the  province;  the  other  potteries  have  established  a  local 
reputation  only.  Indeed  nearly  all  of  these  were  brought  into  note  by  the 
efforts  of  Kyoto  potters. 

TAKAHARA   (Case  6) 

In  1650  a  potter  known  as  Takahara  established  an  oven  in  Osaka,  and  for  a  while 
made  bowls  and  other  objects  after  Korean  style.  Records  inform  us  that  early  in 
the  last  century  Takahara,  or  a  descendant  of  his,  came  to  Yedo  (Tokyo)  and  made 
identical  kinds  of  pottery.  In  the  collection  are  four  Takahara  bowls.  Two  of  them 
were  identified  by  Ninagawa  as  Yedo  Takahara  (see  Musashi).  One  of  the  four 
specimens  I  have  reason  to  believe  is  an  original  Takahara,  and  is  therefore  catalogued 
in  this  place. 

561.     Bowl.     D.  5I  in.     Rim  somewhat  uneven.     Fine  brownish  clay  with  finely  crackled 
white  glaze.     Basal  ring  flaring.  1630 

NANIWA   (Case  6  and  Plate  III.  563) 

Pottery  bearing  the  mark  of  Naniwa  (the  old  name  of  Osaka)  was  made  in  Osaka 
in  the  year  1680.  A  form  of  deep  cup  known  as  Choku,  with  the  Naniwa  plant  as  a 
decoration,  is  one  of  the  early  productions  of  the  Naniwa  oven.  The  National  Museum 
in  Tokyo  has  in  its  collection  a  complete  set  of  five,  and  by  good  fortune  this  coUec- 


€*  THE  CATALOGUE 

tion  has  also  a  complete  set,  and  I  have  never  seen  elsewhere  an  isolated  example. 
The  pottery  must  be  regarded  as  of  extreme  rarity. 

562.  Small  cup.  D.  2|J  in.  Square,  with  rounded  corners.  Rim  cut  down  on  all  four 
sides.     Thin  walls.     Fine  brown  clay,  light  gray  glaze.     Vertical  zigzag  and  straight 

lines  alternating  in  white  Mishima.     Circular  basal  ring.     Naniwa  (imp.).         1680 

563.  Set  of  five  DEEP  CUPS.  H.  3I  in.  Light  fawn  clay,  with  reddish  spiral  lines 
on  base.  Rich  light  bluish  glaze  on  upper  half;  below,  light  brownish-fawn, 
crackled.  Two  zones  of  impressed  scallops;  above  upper  zone,  decoration  of 
Naniwa  flowers  in  blue  and  dark  brown.     Zones  of  light  brown  below.  1680 

564-  Bowl  for  rinsings.  D.  4I  in.  Light  brown  clay,  thick  olive-green  glaze  minutely 
granulated,  resembling  certain  Chinese  glazes.     Naniwa  (imp.).       Uncertain  date. 

565.  Bowl.  D.  4I  in.  Straight  sides.  Fine  light  gray  clay  and  glaze.  Over- 
decoration  of  square  overlapping  panels,  with  various  decorations  in  green  and 
blue  enamels  and  red  and  gold,  behind  which  is  a  spray  of  maple  leaves  in  green 
and  red.     Naniwa  (imp.).  1830 

KOSOBE   (Case  6) 

This  pottery  is  said  to  have  been  first  made  in  the  latter  half  of  the  last  century 
by  Shirobei  ShimbeL  Kyoto  models  were  followed  in  the  work.  The  second  genera- 
tion, Shinzo  Shimbei,  used  glaze  similar  to  Tamba  and  Karatsu,  and  also  made  imita- 
tions of  Korean  worL  The  third  generation,  Shingoro  Shimbei,  imitated  the  work  of 
Rokubei  of  Kyoto,  The  fourth  generation,  Yosojiro,  was  at  work  in  1878.  Some  of 
his  large  cups  and  bowls  were  decorated  by  Komatsuya  Tasuke,  an  artist  and  writer  of 
Osaka.     He  signed  with  the  pseudonym  Tainen. 

FIRST   GENERATION 

566.  Deep  bowl.  D.  4J  in.  Sides  somewhat  flattened.  Fine  fawn  clay,  thick  white 
glaze  strongly  punctured.     On  outside,  two  areas  of  green  overglaze. 

Lattice-work  and  scrolls  in  brown.    Kosobe  (imp.).  1800      ■■> j<  . 

567-     Candle-stick.     H.    ioJ  in.     Swelling  base,  narrow  cylindrical  i^n^  ^/  j 

neck  bulging  above.     Fawn  clay,  very  thick  grayish-white  glaze.    Over-  -S^  B 

decoration  of  overlapping  ovals  in  green,  within  which  are  red  lines,  ^0^  *^B 

flowers,  etc.,  partially  worn  away.     A  large  scalloped  perforation  on  one  ' 

side.     Roughly  potted.     Kosobe  (imp.).                                                i8oo  ^^  ^6? 

568.  Small  plate.     Signed.  1800 

SECOND   GENERATION 

569.  Large  oval  bowl.  D.  6J  in.  Rim  slightly  notched.  Brownish-fawn  clay,  thick 
bluish-white  glaze  mottled,  coarse  lines  representing  a  rice-bag  incised  on  outside  surface. 
Kosobe  (imp.).  1830 

570-  Deep  bowl.  D.  4f  in.  Vertical  sides,  flaring  at  rim.  Light  reddish-fawn  clay  and 
glaze.  Four  equidistant  circles  in  white  and  olive-brown  Mishima  touched  with  black. 
Kosobe  (imp.).  1830 


PROVINCE   OF  SETTSU  63 

57I«  Bowl.  D.  5  in.  Light  fawn  clay,  cream-white  underglaze,  thick  grayish-white  over- 
glaze  coarsely  crackled.     Rice-bag  outline  deeply  incised.     Kosobe  (imp.).  1830 

8 

THIRD   GENERATION  O 

572.  Bowl.  D.  4J  in.  Fine  fawn  clay,  opaque  underglaze,  dull  fawn  overglaze.  :fin 
Overglaze  decoration  of  fish  in  red,  outlined  in  deeper  red  with  plant  in  green  and  •^ 
blue.     Basal  ring  notched.    Kosobe  (imp.).  1850     5^' 

573-  Deep  bowl.  D.  4J  in.  Yellowish-fawn  clay  and  glaze,  with  bands  of  squares  about 
rim,  cloud  and  crane  in  white  and  dark  brown  Mishima.     Basal  ring  with 

three  notches.     Kosobe  (imp.).  1850 

574-  Bowl.     D.  \\  in.     Fawn  clay,  thick  bluish-white  glaze  with  rosy  areas 
strongly  crackled.     Naniwa  flower  in  light  blue.     Kosobe  (imp.).  1850 

575~5^^'    Bowls,  wine- bottle,  stand,  tea-cups,  etc.  1850 

FOURTH   GENERATION    (Plate  III.  582) 

581.  Deep  bowl.  Sides  flattened.  D.  4J  in.  Light  fawn  clay,  thin  gray  underglaze, 
thick  white  overglaze  coarsely  crackled.  Fish,  leaves,  etc.,  in  olive-brown,  with  lines  scratched 
through  on  white.     Inscription  inside.     Kosobe  (imp.).  1870 

Type  Ninagawa.     Vol.  III.,  Fig.  20, 

582.  Large  bowl.     D.  s|  in.     Brownish-fawn  clay,  opaque  white  underglaze,  thick  white 
overglaze  punctured.     Crabs  and   inscription  vigor-  ^^ 
ously  drawn    in    brownish-green.       Signed    Tainen.     ■jjty        ^^       "A"       ^^         wi 
Kosobe  (^m^:).                                                          1870     "^gr       -f^      '^'      -^         <& 

Mate  to  Ninagawa's  type.    Vol.  VI.,  Fig.  25.  ^R         ?p        ^        i^        JW 

583-592-    Tea-cups,   tea-pot,  wine-bottles,  etc.       ^g^         ^^         ^         ^^         ^^^ 
All  signed  Kosobe.  1870 

The  work  of  the  fourth  generation  is  fresh  and  artistic. 
KIKKO   (Case  6  and  Plate  IIL  593) 

The  family  of  potters  using  the  marks  Kikko  and /jlsan  ken  has  evidently  puzzled 
the  Japanese  experts,  probably  for  the  reason  that  the  classical  collectors  and  tea- 
lovers  did  not  consider  the  pottery  of  sufficient  merit  to  be  recorded  ;  in  which  opinion 
they  were  justified.  Nevertheless,  I  have  been  able  to  get  from  various  sources  a 
number  of  memoranda  about  the  family,  and  they  all  differ.  I  found  among  Nina- 
gawa's papers,  for  example,  three  different  records  of  the  family :  one  making  three 
generations,  another  six,  and  another  thirteen.  Diligent  inquiries  fail  to  show  that 
Kikko  ever  baked  in  lyo,  yet  the  records  state  that  he  had  an  oven  there  for  a  time. 
None  of  the  accounts  mention  the  fact  that  he  was  ever  in  Suo,  and  yet  his  Su5  work 
is  the  most  vigorous  and  artistic  of  all  his  efforts.  With  this  conflicting  material  it 
may  be  stated  that  in  the  early  part  of  the  century  a  potter  by  the  name  of  Jihei 
Toda,  a  native  of  lyo,  started  an  oven  in  Jusan,  Osaka.  Here  was  first  used,  in  1819, 
the  mark  Kikko  ;  how  long  he  remained  in  Osaka  is  not  known.  Somewhere  between 
1 83 1  and  1834  he  had  an  oven  in  Iwakuni,  Suo,  and  made  hard  yellow  Nankin  with 
incised  decoration,  and  also  Raku  pottery,  in  which  he  used  the  impressed  marks 


64 


THE   CATALOGUE 


Kikko  and  Jiisan  hen.  (See  Suo.)  In  1835  he  was  pursuing  his  art  in  Susaka, 
Shinano.  (See  Shinano.)  After  this  he  went  to  Tokyo,  and  baked  in  an  oven  at 
Mukojima.  He  died  in  Tokyo  in  1861.  Now,  whether  this  Kikko  was  the  Kikko  who 
was  baking  in  Osaka  in  18 19,  or  the  second  or  third  generation  from  him,  I  have  never 
been  able  to  learn.  At  present  a  Raku  pottery,  with  white  glaze  and  round  stamp  of 
Kikko,  is  being  made  in  Tokyo,  whether  by  a  member  of  the  family  or  a  collateral 
branch  is  equally  uncertain. 

593-  Floating  turtle.  L.  6|  in.  Thin  walls,  scales  incised.  Light  fawn  clay.  Back, 
yellowish-fawn  glaze  shaded  with  rich  brown.  Dark  brown  glossy  glaze  below,  scales  lined 
with  white.    Kikko  (imp.).  ^^^^  1820 


593  594  599 

59^-605.  Various  forms  of  Kikko  illustrating  the  variety  of  the  work 
and  the  signatures  of  this  oven.  594  Kikko,  605  Jusan,  599  Kosui, 
Kosuiga  and  (?)  1820-50 

606.  Figure.  H.  14  in.  Finely  modeled.  Over-garments  dull 
black,  white  under  -  garment  showing  at  neck  and  wrists.  Naniwa 
Hokuensai  Choraku  tsukuru  (inc.).     Seal,  Choraku  (imp.).  1836 

Gift  of  W.  S.  Bigelow. 

SAKURAI  (Case  6  and  Plate  III.  610) 

The  oven  in  Sakurai  village  was  first  built  by  one  of  the  Raku 
family  in  the  latter  part  of  the  last  century.  (This  is  the  cur- 
rent opinion,  but  the  annotated  copy  of  Ninagawa's  work  states 
that  Kyuta  first  started  the  oven,  and  the  work  was  afterwards 
improved  by  the  assistance  of  Mokubei  and  Shuhei.) 

The  pottery  is  simple,  some  pieces  having  a  rich  bright  glaze 
like  Takatori,  others  with  a  thick  white  or  dull  yellow  glaze. 
Upon  some  objects  is  a  pine  tree  roughly  sketched,  with  an 
inscription  referring  to  the  historical  incident  of  Kusunoki  bidding 
farewell  to  his  son  under  a  pine  tree.  This  tree  was  still  stand- 
ing within  recent  years.  The  third  generation,  Kiyomizu  Tajuro, 
was  at  work  in  1 878.     The  pieces  are  signed  Sakurai  no  Sato. 

607.  Flower-vase.      H.    7    in.      Rudely   turned   and   roughly  dis- 
torted, sliced  below.    Light  gray  clay,  thick  white  glaze 
with  bluish  tinge,  splash  of  light  green  overglaze  run- 
ning from  rim.     Sakurai  no  Sato  (imp.).  1830 

A  unique  example  of  this  pottery. 

608.  Globular  jar,  with  narrow   mouth  and  pot- 
tery stopper.     H.  3!  in.     Fine  chocolate  clay,  rich       607  608 


60s 


606 


PROVINCE   OF  SETTSU  65 

dark  brown  glaze  mottled.  Bluish-white  overglaze  on  upper  portion.  Sakurai  no  Sato 
(imp.).  1850 

609.  Similar  to  last. 

610.  Tea-bowl.  D.  4I  in.  Strongly  turned  rim,  uneven  walls,  thick.  Coarse  light  brown 
clay,  thin  gray  underglaze,  thick  white  overglaze,  crackled.  Under-decoration  of  pine  tree  and 
poem  in  blue.     Sakurai  no  Sato  (imp.).  1850 

611,612.    Wine-cups.     Sakurai  no  Sato  (^im^.). 

SHOZAN   (Case  6) 

The  work  of  Shuzan,  evidently  an  amateur  potter,  is  represented  in  the  col- 
lection by  a  Raku  flower-vase  in  the  form  of  a  tree  trunk  vigorously  vwought.  That 
he  lived  in  the  latter  years  of  the  last  century  is  attested  by  the  year  period  inscribed 
upon  it.  "Mi  tokobashira yoki"  written  upon  it,  was  a  fitting  inscription  for  so  sturdy 
a  piece,  —  to  honorably  guard  or  protect  the  Tokobashira,  the  post  dividing  the  re- 
cesses in  the  Japanese  room,  in  one  of  which  hangs  the  picture,  or  Kakemono,  and  on 
its  floor  stands  the  flower-vase. 

613.  Flower-vase.  H.  13^  in.  Long  and  cylindrical.  Thick  walls,  strongly  sliced.  Soft 
buff  clay,   transparent  underglaze,   rich   thick  red  Raku  overglaze,  coarsely 

crackled.     Anyei  go  nen  Naniwa  Shuzan  set,  mi  tokobashira  yoki,  written   in         »      » 
white  on  side.  1776 

Gift  of  Denman  W.  Ross. 

KODZO   (Case  6) 

Kodzu,  in  the  environs  of  Osaka,  has  sustained  an  oven  for  over  two 
hundred  years.  Within  recent  years  pieces  in  the  form  of  cups  have  been 
made  with  extraordinary  black  and  lustrous  glazes.     No  signature. 

614.  Bowl.  D.  3^  in.  Dull  iron  brown  underglaze,  rich  deepest  brown  over- 
glaze, lustrous.  Inside,  rich  cream-white  glaze  with  pinkish  areas,  coarsely 
crackled,  this  glaze  running  over  rim.    Outside  richly  mottled  with  olive-brown. 

1850 

615.  CtJP.  D.  2f  in.  Brown  clay,  deep  mottled  brown  underglaze,  rich 
light  blue  overglaze  finely  mottled.  1850 

KYOZAN    (Case  6  and  Plate  III.  616) 

In  1 87 1  Shibata  KyiJzan  built  an  oven  near  Osaka  and  employed  a 
potter  from  Kyoto  for  the  purpose  of  making  utensils  for  the  tea  cere- 
mony. The  only  pieces  in  the  collection  are  two  flower-vases,  and  these 
show  some  taste  and  skill.  The  work  is  signed  with  the  impressed  mark  w^"  V 
Kyuzan  set.  I  am  strongly  inclined  to  believe  (though  I  have  been  other-  \^J 
wise  persuaded  by  Japanese  experts)  that  pottery  signed  In  Kyuzan  is 
the  product  of  this  oven.     (See  Inaba.)  613 

616.  Flower-vase.  H.  6J  in.  Fine  reddish  clay,  liver-colored  glaze  with  greenish  areas 
on  upper  half.     KyUzan  set  (imp.).  1874 


66  THE  CATALOGUE 

617.  Flower-vase,  same  as  last.     H.  8  in.     Fine  light  gray  clay,  very  thin  green  glaze. 
Kyiizan  set  (imp.).  1874       „ 

SHOSAI   (Case  6)  ^ 

It  is  recorded  that  in  1 860  a  tea-lover  of  Osaka,  named  Furoshi  Sh5sai,  made     ^^ 
pottery  at  the  old  oven  of  Kikko,  and  produced  among  other  kinds  a  red  Raku 
pottery  with  decoration  in  white. 

618.  Wine-bottle.     H.  6  in.     Sides  sliced.     Bright  red  Raku  glaze,  with  greenish-olive 
areas.     Twigs  of  willow  twisted  in  a  loop  in  white.     Shosai  (imp.).  i860 

Dig.      Wine-bottle,  similar  to  last,  with  bridge  and  houses  in  white. 
SAosai  (imp.),  i860 


BEIZAN   (Case  6) 

A  poet  and  artist  of  repute  made  pottery  in  Osaka  in  1830.  His 
work  consisted  of  diminutive  figures  modeled  in  clay,  bearing  the  im- 
pressed marks  Beisan  and  Uji. 

620.  HoTEi,  with  rice-bags.     H.   ij  in.     Fine  fawn  clay,  dull  blackish  glaze. 
Beizan  and  Uji  (imp.).  1830 

SANDA  (Case  6)  ^*° 

Ninagawa  records,  under  the  name  of  Arima,  the  existence  of  an  oven  where, 
in  the  early  part  of  the  century,  three  potters  of  Kyoto,  Shuhei,  Kamesuke,  and 
Kamekichi,  pupils  of  Yeisen,  made  an  imitation  of  Chinese  celadon.  The  beautiful 
sea-green  celadon  made  in  moulds,  the  outgrowth  of  this  work,  has  been  produced 
in  great  quantities.  The  efforts  of  these  potters  were  preceded  by  an  essay  said  to 
have  resembled  Tamba. 

621.  Diamond-shaped  cake-dish.     L.  13J  in.     Moulded,  supported  on  four  short  legs. 
Inside,  in  relief,  two  conventional  cranes.     Hard  white  stone  clay,  green  celadon  glaze. 

1780 

622.  Incense-burner,  with  plum  blossoms  in  slight  relief.     H.  3  in.     White  stone  clay, 
light  green  celadon  glaze.  1850 


PROVINCE   OF   OMI 

The  merit  of  Omi  pottery,  like  that  of  many  other  provinces  in  Japan, 
is  that  it  has  been  true  to  its  traditions.  The  large  tea-jars  with  typical 
Shigaraki  clay  have  been  the  dominant  form  of  its  pottery  for  five  hundred 
years.  The  luminous  glazed  tea-jars  and  the  delicate  glazes  seen  in  others 
are  all  good.  With  the  invasion  of  Kyoto  potters  at  Beppo  and  Hikone, 
and  a  consequent  introduction  of  Kyoto  styles,  there  has,  nevertheless,  been 


CASE  6 


Tjri 


^9 


5-'/9 


SV5      yss       yVo      yi-y     s^3    sTb     S3  5    ssy    s^o        yav        Jv?        sso        51,2, 


i-32 


PROVINCES  OF  TOSA,  TSUSHIMA,  AND  SETTSU 


PROVINCE    OF  OMI  67 

no  sign  of  Omi  potters  degrading  their  art  by  appealing  to  the  extraordi- 
nary tastes  of  foreigners.  The  typical  pottery,  Shigaraki,  and  probably  the 
oldest  pottery  in  the  province  (save  that  mentioned  under  early  historic 
pottery),  was  made  nearly  a  thousand  years  ago.  With  the  exception  of 
slightly  different  forms  and  the  grime  of  age,  this  varies  but  little  in  general 
appearance  from  that  made  to-day. 

SHIGARAKI   (Case  7  and  Plate  IV.  631) 

In  the  village  of  Shigaraki  are  the  ruins  of  one  of  the  oldest  ovens  in  Japan. 
Ninagawa  figures  a  little  plate  made  of  typical  Shigaraki  clay,  dug  up  on  the  site  of 
this  oven,  which  he  believes  to  be  nearly  nine  hundred  years  old.  He  also  figures  a 
rough  jar,  to  which  is  accorded  an  age  of  five  hundred  years ;  and  in  the  collection  there 
are  specimens  of  Shigaraki  showing  successive  periods  up  to  the  present  day.  They 
are  all  strikingly  alike  in  clay  and  rough  way  of  potting.  In  the  latter  part  of  the  six- 
teenth century  large  jars  for  holding  tea  leaves  became  very  popular,  as  it  was  believed 
that  the  tea  preserved  better  in  pottery  of  this  kind.  Typical  Shigaraki  is  unmistak- 
able :  the  rough  slightly  reddish  tinge  to  the  clay,  the  coarse  granules  of  silica 
partially  fused,  and,  in  recent  specimens,  the  thin  transparent  glistening  glaze,  with 
sometimes  a  thicker  running  overglaze,  render  the  pottery  very  distinctive.  There  are 
many  forms  of  Shigaraki  In  some  the  clay  is  finely  sifted,  and  green,  brown,  or 
glistening  black  glazes  are  used.  These  are  rarely  decorated.  The  tea-jars  are  either 
typical  Shigaraki,  or  glazed  after  Seto  style. 

623.  Small  plate.  D.  3f  in.  Dull  light  Shigaraki  clay,  flecks  of  light  green  glaze. 
Rough  base.  1000 

624-  Jar.  H.  7I  in.  Coarse  Shigaraki  clay,  dull  transparent  glaze,  splash  of  light  greenish 
overglaze.  Rough  impression  of  two  pieces  of  wood,  known  as  Geta,  on  bottom.  Coarse 
cracks  on  surface.     Roughly  potted.  1380 

Type  Ninagawa.     Part  III.,  Fig.  4. 

625.  Flower-vase.  1400 

626.  Tea-jar.  H.  2\  in.  Fine  light  brown  clay,  unglazed.  Around  rim,  dark  brown 
glaze,  splash  of  light  olive-green  on  shoulder.  Around  neck,  eight  large  drops  of  silica. 
Around  body,  wavy  parallel  comb-marks.     Inside,  light  brown  glaze.  1570 

Type  Ninagawa.     Part  III.,  Fig.  6. 

627.  Tea-bowl.  D.  4f  in.  Modeled  by  hand.  Fine  hard  Shigaraki  clay,  thin  dull  light 
red  glaze,  with  areas  of  light  fawn.  1680 

Unique  specimen  on  account  of  its  reddish  color. 
Gift  of  George  W.  Wales. 

629.  Tea-bowl.  D.  5i  in.  Fine  light  reddish  clay,  thin  transparent  glaze,  irregular 
splashes  of  white  overglaze  with  rosy  areas  inside.  i77'> 

Type  Ninagawa.     Part  III.,  Fig.  7. 
631.     Large  plate,  in  form  of  ceremonial  wine-cup.     D.  9J  in.     Fine  Shigaraki  clay.     In- 
side, decoration  of  formal  waves  in  blue,  and  flying  crane  in  iron-rust  red.  1780 

Gift  of  Henry  O.  Havemeyer, 


68  THE   CATALOGUE 

A  most  superb  example  of  Shigaraki.     Regarded  by  some  experts  as  the  work  of  Ninsei, 
in  which  case  one  hundred  and  thirty  years  would  have  to  be  added  to  the  above  date. 
632-644.     Cup-rest,  water-jars,  large  tea-jars,  bowls,  etc.  1780-1800 

645.  Water- JAR,  with  pottery  cover.  H.  5  J  in.  Thick  walls,  roughly  turned  coarse 
Shigaraki  clay,  thick  light  gray  glaze,  large  over-splashes  of  red  and  pale  green  glaze,  flecked 
with  blue,  running  in  long  streams  of  turquoise  blue.  Over-decoration  of  plum  blossoms  in 
brown.  1800 

A  unique  example  of  Shigaraki. 

646-651.     Wine-bottle,  bowl,  jar,  incense-box,  etc.  1 820-1 830 

652.     Wine-bottle.     H.  7J  in.     Clay  and  glaze  resembling  Awata.  On  neck,  warm  green 

glaze.     Chrysanthemums  freely  sketched  in  black.  1840 
A  peculiar  type  of  Shigaraki. 

653~672.     Flower-vases,  bowls,  incense-boxes,  jars,  etc.  1840-1870 

673.  Bowl.  D.  6  in.  Uneven  rim,  remarkably  thin  walls.  Fine  fawn  clay,  thin,  dull 
light  olive-green  glaze,  with  large  irregular  brown  areas  showing  through.  Band  of  leaves 
and  tendrils  in  iron-rust  color.     Inside,  vine  and  trellis  in  same  color. 

Mr.  Hiyashi  identified  this  as  having  been  made  by  Kobori  Enshu.  This  has  also  been 
identified  as  Showo  Shigaraki.  Takana  Showo,  a  celebrated  master  of  the  tea  ceremony 
in  the  early  part  of  the  sixteenth  century,  is  said  to  have  given  the  potters  of  Shigaraki 
many  suggestions  as  to  forms  and  glazes ;  and  pieces  of  this  period,  due  to  Showo's  influence, 
are  known  as  Showo  Shigaraki.  It  is  impossible  to  believe  that  this  bowl  comes  within  a 
hundred  years  of  the  age  demanded  by  this  statement. 

675  •     Hanging  flower-holder,  flattened  and  curiously  out  of  shape.     H.  6  in.     Rough 
reddish  Shigaraki  clay,  with  areas  of  rough  fawn  and  reddish  glaze.     Vertical 
comb-marks.     Shu  (imp.).  1700 

676  .    Tea-jar.    Yi.2\\n.    Rough  reddish  Shigaraki  clay.    5^«  (imp.).    1700 

^n~l^'l'  Tea-jars,  ranging  in  date  from  1620-1850,  representing  many 
forms  of  shape  and  glaze.  A  few  are  grouped  together  in  the  case  to  show 
range  of  variation. 

BAIZAN   (Case  7) 

708.     Tea-pot.     D.  3J  in.     Fine  light  Shigaraki  clay,  light  reddish  glaze,  white  overglaze 

running   in   drops.     Design   of   scrolls   and  flowers  roughly  incised. 

Baizan  (imp.).  1850 


OYE   (Case  7) 

The  pottery  of  Oye  has  an  obscure  origin.     Early  pieces  are  extant  in  ' 

which  the  mark  Oye  is  written  in  brown  glaze  with  the  finger.     The  tea-jars  of  a 
later  period  are  quite  distinctive  and  very  rare. 

709.    Tea-jar.     H,  3J  in.    Light  fawn  clay,  dull  purplish-brown  glaze  mottled,  splash  of 
olive-yellow  overglaze  running.     Left-hand  thread-mark.  1630 

Identical  with  Ninagawa's  type.     Part  VI.,  Fig.  14. 

Exceedingly  rare. 


PROVINCE   OF  OMI  69 

ZEZE   (Case  7  and  Plate  IV.  711) 

The  term  Zeze,  with  the  local  antiquarians  of  Omi,  covers  a  wide  range  of  ovens 
and  potters.  The  name  is  here  restricted  to  certain  tea-jars  and  other  forms  which, 
while  resembling  Takatori,  yet  vary  in  certain  characters. 

711.  Tea-bowl.  D.  3J  in.  Fine  hard  fawn  clay,  yellowish-olive  glaze,  crackled,  darker 
inside.  Outside,  splash  of  rich  cream-white  overglaze,  with  mottled  underglaze  showing 
through,  running  down  to  a  thick  drop  at  base.  1630 

712.  Flattened  wine-flask,  with  nozzle  and  snout.  H.  6|  in.  Looped  handles.  Side 
modeled  in  high  relief  in  form  of  mythological  animal.  Fine  light  reddish  clay,  rich  dark 
chocolate  glaze  mottled  with  golden-brown  flecked  with  light  blue.  1650 

Unique  form. 

713'  Water-jar.  H.  6  in.  Fine  fawn  clay  with  iron-rust  tinge,  thin  reddish-brown  glaze 
with  large  areas  of  rich  golden-brown  glaze  running.  1680 

7I4~72I'    Tea-jars.  t  1600-1630 

722.  Cylindrical  tea-jar.  H.  2,^  in-  Fine  fawn  clay,  rich  light  brown  glaze,  with  darker 
overglaze.  1650 

Type  Ninagawa.     Part  III.,  Fig.  17. 
723-734.     Tea-jars.  1650-1800 

Many  of  these  resemble  Takatori,  but  differ  in  clay  j  some  of  them  are  exceedingly  rich 
and  refined. 

A  few  of  these  are  not  exhibited  for  want  of  room. 

SETA   (Case  7) 

Records  show  that  pottery  was  made  in  the  village  of  Seta  three  hundred  years 
ago.     In  1630  water- vessels  and  tea-jars  were  made. 

735-  Tea-jar.  H.  2^  in.  Vertical  lines,  slightly  indented.  Fine  reddish  clay,  chocolate- 
brown  glaze  mottled,  dash  of  thick  olive-green  overglaze.  1600 
736.  Tea-jar.  H.  2-^  in.  Fine  fawn  clay,  thin  dull  light  reddish  glaze,  on  shoulder  darker 
brown,  with  yellow  drops  strongly  resembling  Imbe,  Bizen.  1620 

Type  Ninagawa.     Part  VI.,  Fig.  17. 

Ninagawa  records  that  this  tea-jar  was  handed  down  in  the  family  of  Ishikawa. 
737-     Tea-jar.     Similar  to  last.  1620 

MOMPEI   (Case  7) 

Ikeda  Mompei  began  as  an  amateur,  making  Raku  pottery  in  the  village  of  Seta. 
The  second  generation  hired  a  professional  potter  from  Kyoto,  and  learned  from  him 
the  art.  For  the  first  time  some  taste  was  shown  in  the  work.  A  number  of  marks 
impressed  and  written  were  used. 

739-     Little  dish,  in  form  of  two  shells,  with  three  short  supports.     L.  3I  in.     Fine  hard 
red  clay,  thick  gray  glaze,  rough  sketch  of  bridge  in  white  slip.     Mompeizan 
(imp.).  1830 

Type  Ninagawa.     Part  VI.,  Fig.  18. 
740.     Wine-cup.      D.  3J  in.     Dull  chocolate  clay,  dark  gray  glaze,  dull 
starch-colored  overglaze.     Outside,  brush-mark  of  white  slip.     Inside,  bands 
and  stars  in  white  Mishima.     Mompei  (imp.).  1830 


70 


THE  CATALOGUE 


74^'  Shallow  bowl.  D.  4$  in.  Fine  light  fawn  clay,  light  olive-green  underglaze,  cream- 
white  overglaze  curiously  crackled.  Bridge  post  extending  inside  in  light  blue.  Seta  Seki 
sho  (written  in  blue,  on  side).  ig^o 


741 


742.    Haisen.     D.  5J  in.     Strongly  turned.     Fine  yellowish-fawn  clay,  bluish-white  glaze. 
Spray  of  chrysanthemum  roughly  sketched  in  light  blue.    Basal  ring  with 
three  notches.     Goshu  Seta  Kyoto  Tokishi  Mompei  (imp.).  1873 

Type  Ninagawa.     Part  VI.,  Fig.  19. 

OTSU   (Case  7) 

The  two  specimens  in  the  collection  were  made  by  some  obscure 
potter  in  Otsu,  evidently  to  be  sold  as  souvenirs. 

743-     Bowl.     D.   3I   in.     Thick   and   heavy.     Hard   gray   clay,   thin 
transparent  underglaze,  thick  light  gray  overglaze.     Over-decoration  of 
figure  in  hideous  mask  in  green,  black,  yellow,  red,  etc. 
Otsu  Meisan  (unp.).  1830 

744  •    Wine-cup.    D.  z-^  in.    Thin  walls,  fine  light  brownish  clay,  light  olive-brown  glaze, 
coarsely  crackled.     Inside,  over-decoration  of  mask,  clouds,  etc.,  in  red,  black, 
and  green.     Otsu  Meisan  and  Yorodzu  tei  (imp.).  i860 


7 


744 


BAIRIN   (Case  7  and  Plate  IV.  747) 

In  the  beginning  of  the  century  an  oven  was  built  in  the  hamlet  of 
Beppo,  at  the  southern  limit  of  the  old  castle-town  of  Zentokoro.  A 
Kyoto  potter  was  employed ;  and  while  the  essays  were  after  Ky5to 
models,  they  were  original  in  design  and  treatment.  The  objects  were 
usually  glazed  in  two  colors,  either  green  and  yellow,  green  and  purple,  or  claret  and 
yellow  blending  at  the  point  of  junction.  The  Japanese  have  only  recorded  the  mark 
of  Bairin,  which  means  plum  blossom.  The  mark  Okei  also  occurs  on  this  pottery. 
This  is  another  poetical  name  meaning  nightingale.  The  plum  blossom  and  night- 
ingale are  often  associated  in  pictures.  One  specimen,  a  plate  (No.  747)  which  has 
no  mark,  has  in  relief  a  design  of  a  wreath  of  plum  blossoms  about  the  border  and  two 
nightingales  in  the  centre.  Some  of  the  objects  were  moulded.  Speci- 
mens are  exceedingly  rare. 

745-  Wine-bottle,  moulded  in  form  of  egg-plant.  H.  6f  in.  Fine  fawn  clay, 
underglaze  transparent,  rich  brown  overglaze,  clouded ;  below  calyx,  thick  white 
glaze.     Kiyomizu  Bairin  zan  (imp.).  1800 

Gift  of  Charles  A.  Dana. 

746.     Cake-plate.     D.  8  in.     Moulded.  1800 


PROVINCE  OF  OMT 


71 


t 


752 


747-  Cake-plate.  D.  10  in.  Moulded,  rim  scalloped.  Inside,  border  of  plum  blossoms 
in  high  relief.  In  centre,  two  nightingales,  purplish-brown  glaze  on  rim,  green  glaze  on 
remaining  surface.     Unsigned.  1800 

Much  worn. 

748-  Globular  comfit-bottle,  with  cover.  H.  3  in.  Fine  light  yellow  clay,  bright  yellow 
glaze,  finely  crackled.     Cover  and  shoulder  purple  glaze.    Bairin  (imp.).  1800 

749-  Fire-bowl.  D.  i,-^  in.  Dark  brownish  clay,  deep  yellow  glaze  with  large  areas  of 
green  and  purple  overglaze  much  worn.     Bairin  (imp.).  1800 

750*  Globular  water-bottle,  with  nozzle,  looped  handle,  and  stopper.  H.  5  J  in.  Around 
shoulder  band  of  scrolls  impressed,  just  below  scroll-marks  incised.  Fawn  clay,  rich  yellow 
glaze  on  body;  warm  brown  overglaze  on  neck  and  shoulder^ running,  slightly  iridescent. 
Resembles  some  forms  of  Izumo.     Bairin  (imp.).  1800 

75^"  Shallow  bowl.  D.  5I  in.  Fine  hard  fawn  clay,  thin  pale  claret  underglaze,  glisten- 
ing rich  claret  overglaze.     Lathe-marks  strongly  cut  on  lower  portion.     Bairin  (imp.).    1800 

752.     Incense  box  (bird).    L.  2§  in.    Moulded.      Soft  cream  clay,  thin  bright  green  glaze, 
base  of  wings  light  purplish  glaze.      Inside,  glistening  white  glaze  with  yellow 
streaks  closely  crackled.      Irregular  cracks  showing  in  clay  beneath  glaze,  —  a 
peculiarity  often  seen  in  this  pottery.     Bairin  (imp.).  1800 

753-  Bowl.     Signed.  1800 

754-  Cup-rest.    Three  Chinese  boys  moulded  as  supports.     D.  \\  in.      Bairin 
(imp.).  1800 

755-  Incense-box  (badger).  Unsigned.  1800 
75^-  Box  (turtle).  L.  1%  in.  Moulded.  Unsigned.  1800 
757-  Haisen,  bowl-shaped,  three  Chinese  boys  as  supports.  D.  6J  in.  Soft  fawn  clay. 
Rich  mottled  green  glaze  below;  rim,  to  depth  of  one  inch,  orange-yellow  glaze; 

similar  space  within,  green  glaze  ;  below  this,  yellow  area,  then  green,  and  finally 
yellow  centre.     Finely  crackled.     Okri  (imp.).  1800 

75^*     Squat  tea-jar.     H.  2|  in.     Hard  white  stone  clay;  glassy-brown  glaze 
inside  and  out,  coarsely  mottled  with  light  brown  spots,  richly  mottled 
light  brown  and  blue  overglaze  running  from  rim.     Okei  (imp.).  1800 

759-  Flattened  tea-pot,  with  looped  handle  opposite  nozzle.  D.  3! 
in.  Soft  fawn  clay ;  cover  and  rim  orange  glaze,  remaining  portion 
green  mottled  glaze  inside  and  out.     Bansei  Raku  (imp.  on  handle). 

1800 


757 

f 

KOTO   (Case  7)  ^'^ 

Pottery  known  as  Kot5  was  made  at  Sawayama,  east  of  Hikone  castle,  by  order  of 
the  Hikone  family.  The  oven  was  started  in  1818,  and  a  potter  from  Kyoto  was 
placed  in  charge  of  it.  No  special  merit  was  shown  in  the  work  until  within  recent 
years,  when  a  number  of  potters  from  Kyoto  and  Seto  were  engaged.  This  accession 
resulted  in  a  new  departure,  and  pottery  after  Seto  and  Kyoto  models,  with  porcelain 
and  celadon  as  well,  and  suggestions  of  green  and  red  Kutani  were  among  the  essays. 


7* 


THE   CATALOGUE 


1850 


The  work  was  of  short  duration,  for,  on  the  assassination,  by  Mito  Renins,  of  the  head 
of  the  Hikone  family,  the  oven  was  abandoned. 

760.  Bowl.     D.  4I  in.     Fine  reddish  clay,  transparent  underglaze,  glistening  white  over- 
glaze  with  pinkish  tinges.     Sketchy  design  of  grass  and  round  moon  in  blue.     Koto  (imp.). 

In  Kiyomizu  style,  1850 

761.  WiNE-BOTTLE.  H.  4{  in.  Delicately  modeled  dragons  for  handles,  jeweled 
diaper  in  brown.     In  Awata  style.    Koto  (imp.).  1850 

762.  Flower-holder.  H.  5J  in.  Fine  grayish  fawn  clay,  light  yellowish-brown 
underglaze  mottled,  rich  thick  golden  brown  overglaze  running.  In  Seto  style. 
Koto  (imp.).  1850 

763-      CVLINDRICAL  TEA-JAR.      H.  2,\  >"• 

764.     Incense-box,   pentangular.     D.   2J   in.     Hard  brown   clay,   delicate  light  greenish 
celadon  glaze.     Koto  (inc.).  1850 

765-     Flower-vase.     H.   \\\  in.     Looped  handles,  flowers,  scrolls,  bands,  etc.,  broadly 
incised.     Hard  stone  clay,  light  green  celadon  glaze.     Koto  (imp.). 

1850 

766.  Cake-plate.  D.  8J  in.  Hard  fawn  clay,  elaborately  deco- 
rated after  green  Kutani  style  with  panels,  diaper,  crane,  pine  tree, 
bamboo,  etc.,  in  dark  and  light  green,  purple,  blue,  and  other  colors. 
Ko^  (written).  1850 

767*  Cake-dish,  high  basal  ring.  D.  7I  in.  Hard  gray  clay 
elaborately  decorated  after  green  Kutani  style  with  diapers,  flying  cranes,  fretwork,  panels  of 
leaves,  flowers,  etc.,  in  green,  greenish-yellow,  light  purple,  blue,  and  other  colors.  Surface 
covered  with  decoration  inside  and  out.     Basal  ring  perforated  with  circular  holes  running 


into  one  another.     Koto  (written). 

768.  Similar  to  last  in  form.  D.  yf  in.  Light  gray  clay,  thick  white  glaze 
coarsely  crackled.  Hydrangea  leaves  inside  and  out  in  rich  green  lined  with 
black.     Flowers  in  big  drops  of  light  blue  enamel.     Koto  (written).  1850 

769.  Square  incense-burner,  fluted  corners.  H.  2J  in.  White  porcelain. 
Landscapes  and  poem  in  red  touched  with  gold.  Thick  light  blue  glaze  upon 
rim.     Koto  set  (written).  1850 

^^0.     Cake-plate.    D.  6^  in.    Translucent  white  porcelain  ;  outside,  three  panels 

with   chrysanthemums   in    red ;     interspaces   with  wave  pattern  and   broad  zones 

Inside,    rim   panels    of    landscape,   with    wave    pattern    and 

diaper  delicately  drawn.     On  bottom,  peacock,  peony,  rock, 

etc.,  in  red.     All  designs  touched  with  gold. 

Koto  Sekisui  sei  (written).  1850 

771*.     Plate.     D.  6i  in.     Koto  {vintien). 
Gift  of  Mrs.  J.  J.  Glessner. 

772—77^'     Plates,  flower-pots,  bowl,  etc.,  showing  various 
forms  of  Koto. 


1850 


PROVINCE   OF  OMI 


73 


777'    Figure  of  Hotei,  in  soft  Raku,  green  and  white  glazed.     L.  9I  in.    Koto  (imp.). 
Meizan  (written).  1850 

Gift  of  W.  S.  Bigelow. 

778*-78o*.     Bottle,  fire-bowl,  and  tea-jar.     778  bears  a  peculiar  signature 
of  Koto.  1850 

UBAGAMOCHI    (Case  7  and  Plate  IV.  781) 

Pottery  bearing  the  impressed  mark  Ubagamochi  is  said  to  have  been  made  in  the 
village  of  Kusatsu.  The  pieces  show  the  work  of  a  vigorous  potter  of  the  old  school. 
The  pottery  strongly  resembles  Shigaraki,  and  bears  evidences  of  fair  age. 

781.  Tea-bowl,  irregular.    D.  5  in.    Coarse  dull  reddish  clay,  thin  brick  red  glaze,  shiny, 
large  areas  of  thick  olive-green  glaze  running  in  thick  drops  inside  and  out. 

Two  notches  on  one  side  of  basal  ring.  On  bottom  strong  left-hand  spiral. 
Ubagamochi  (imp.).  x68o 

782.  Raku  tea-bowl.  D.  4J  in.  Coarse  light  fawn  clay,  rich  maroon 
glaze  with  lighter  areas,  finely  mottled,  running  in  thick  drops  below. 
Ubagamochi  (imp.).  1680 

783-  Jar.  H.  5  in.  Two  small  looped  ears,  coarse  light  reddish  clay,  thick 
light  grayish  glaze,  with  light  reddish  tinges.  Large  olive-brown  brush-marks, 
probably  representing  birds.     Ubagamochi  (imp.).  1680 

784.  Cylindrical  tea-jar.     H.  3!  in.     Resembling  No.  781  in  clay  and  glaze. 

1680 
KAMEYAMA   (Case  7) 

Delicate  bowls,  bearing  the  impressed  mark  Kameyama,  were  made 
in  the  village  of  Shigaraki  in  the  early  part  of  this  century.     It  is  possible  that  the 
bowl,  No.  629,  considered  by  Ninagawa  to  be  220  years  old,  is  the  product  of  this 
oven. 

785.  Bowl.    D.  5  J  in.     Fine  fawn  clay,  dull  white  underglaze  mottled  with  the  color 
of  the  clay  beneath,  thick  white  overglaze  about  rim,  crackled.     Kameyama  (imp.). 

.  1830 

HIRA   (Case  7  and  Plate  IV.  787) 

Pottery  bearing  the  mark  oiHira  was  made  in  the  village  of  that  name  on  the 
eastern  side  of  Lake  Biwa.  The  pieces  are  small,  delicately  made,  and  slightly 
decorated.  The  clay  is  yellowish  or  reddish,  glaze  thin  and  dull.  Decoration,  when 
present,  in  iron-rust  color.     It  is  said  that  a  pupil  of  Ninsei  first  started  the  work. 

786.  Bowl,  vertical  sides.     D.  3I  in.    Light  brown  clay,  light  fawn  glaze  slightly  glistening. 
Decoration  of  fisherman  (Ebisu)  and  waves  in  brown.     Hira  (imp.).  1830 

787-  Bowl,  straight  sides  flaring.  D.  4J  in.  Fine  light  clay,  dull  trans- 
parent glaze,  faint  brown  overglaze  forming  fringe  of  drops  about  rim.  Deco- 
ration of  vine  in  iron-rust  brown.  Hira  (imp.).  1830 
788.  Cup.  D.  2\%  in.  Similar  to  last.  Young  ferns  in  iron-rust  color. 
Hira  (imp.).                                                                                                             1830 


786 


788 


u 


THE   CATALOGUE 


789 


NAGARAYAMA  (Case  7) 

In  the  year  1850  a  pottery  was  started  in  Miiderayama,  and  continued  for  a  short 
time  only.     Ninagawa  in  his  work  figures  a  broken  specimen,  and  this  is  the 
only  one  that  I  have  ever  seen  bearing  a  mark. 

7o9'  Cake-dish,  rectangular,  with  short  looped  supports.  L.  5  in.  Moulded. 
Light  fawn  clay,  dull  white  glaze,  dull  brown  areas  across  one  corner,  with  brown 
scrawls  on  bottom  inside.  The  piece  had  a  looped  handle,  which  has  been  broken 
away.     Nagarayama  (imp.).  1840 

Type  Ninagawa.  Vol.  VI-,  Fig.  22. 
790.  Cake-dish,  three  square  openings  cut  in  rim.  D.  4f  in.  Light  brown  clay,  thick 
gray  glaze  creeping  away  from  clay.  Latticework  in  three  panels  in  white,  gray,  and  brown 
inside  and  out.     Unsigned.  1840 

TORAKICHI    (Case  7) 

Three  pieces  in  the  collection  having  a  dark  yellow  glaze  have  been  identified  as 
Omi ;  if  so,  they  were  probably  baked  in  Zeze  village,  and  date  back  to  1840.  Ninagawa 
in  his  notes  mentions  a  potter  named  Torakichi,  who  came  from  Ky5to  and  settled  in 
Zeze.  His  work  was  known  as  Zezetora.  The  mark  Yakitora  implies  that  it  was 
baked  by  Tora,  and  presumably  by  TorakichL 

791-    Bowl.     D.  \\  in.     Fine  light  fawn  clay,  bright  yellow  orange  glaze.     Design  of  scroll 

lines  deeply  incised.     Yakitora  (imp.).  1850 

792.     Similar  to  last,  without  design.      Yakitora  (imp.). 

793*'     Dish,  modeled  in  form  of  tub.     D.  4I  in.     Fine  reddish  clay,  deep 

orange  glaze.     Three  lions'  heads  moulded  for  supports.      Yakitora  (imp.). 

_  1850 

YUKO    (Case  7) 

Strongly  marked  black  Raku  bowls,  bearing  the  mark  Yuko,  have  been  identified 
as  Shigarakl  One  authority  says  that  they  were  made  by  the  author  of  Tokiko 
in  1850. 

794-     Raku  tea-bowl.     D.  4f  in.    Coarse  clay,  thick  black  glaze  with  mottled  red  areas. 
Yiko  (imp.).  1850 

795*  Bowl.  D.  4  in.  Straight  sides,  thick  moulded  rim.  Hard 
gray  clay,  thin  bluish-black  glaze  with  light  brownish  areas.  Large 
circular  areas  of  white  glaze,  on  which  is  a  chrysanthemum  roughly 
outlined  in  black.      Yitko  (imp.).  1850 


I 

793 


796*.  Shallow  CUP.  D.  4y'g  in.  Reddish  Raku  clay,  white  under- 
glaze,  thick  light  reddish  Raku  overglaze,  coarsely  crackled.  Sil- 
vered inside.      YUko  (imp.).  1850 

BASHODO   (Case  7) 

Small  tea-pots,  unglazed,  with  the  written  mark  of 
Baslwdd,  were  made  in  a  small  village  of  that  name. 
The  work  resembles  Tokoname,  but  has  no  merit.  ^M 


^ 
*• 


794 


796 


797*     Tea-pot.     D.  2|  in.     Light  grayish-fawn  clay,  un- 
glazed.    Poem  and  Bashodo  written  in  brown.  1874 


A 


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PROVINCE  OF  OMI 


PROVINCE   OF  HIGO  75 

PROVINCE   OF   HIGO 

The  pottery  of  Higo,  as  we  know  it  to-day  through  the  exquisite  produc- 
tions of  Koda,  began  with  the  introduction  of  Korean  potters  after  the 
Japanese  invasion  of  Korea  in  the  last  years  of  the  sixteenth  century. 
Before  this,  tea  utensils  after  Seto  models  were  probably  made.  Ante- 
dating these  by  untold  centuries,  however,  the  platycnemic  savage  had  left 
the  evidences  of  his  rude  skill  in  the  shell  heaps.  Hosakawa  Sansai 
brought  back  from  Korea  potters  who  were  first  settled  in  Agano,  Buzen. 
Afterwards  they  were  brought  to  Koda,  near  Yatsushiro,  and  here  they 
began  the  making  of  pottery  which  has  continued  to  the  present  day.  At 
the  outset  the  work  was  rude.  At  what  date  the  Mishima  type  of  decora- 
tion began  to  be  made  it  is  difficult  to  say.  A  Japanese  authority  of  1700 
says,  "  Nothing  is  baked  in  Higo  but  tea-jars,  and  these  are  made  in  great 
quantities."  But  little  reliance  can  be  placed  on  this  statement,  as  he  was 
a  Chajin,  and  consequently  ignored  the  pottery  of  the  people. 

HIGO    (Case  8  and  Plate  IV.  799)  ' 

Under  the  provincial  name  must  be  included  the  tea-jars,  as  they  represent  the 
earliest  glazed  pottery  in  the  collection.  The  Japanese  experts  identify  a  number  of 
these  tea-jars  as  Higo-Satsuma,  for  what  reason  I  could  never  clearly  understand. 

798.     Tea-jar  (melon-shaped).     H.  3  in.     Gray  clay,  dull  dark  chocolate-black  glaze  with 
lighter  areas.  1500 

799-    Globular  tea-jar,    H.  2J  in.     Fine  light  brown  clay,  deep  chocolate-brown  glaze, 
slight  lustre,  mottled.     Right-hand  thread-mark.  1600 

Type  Ninagawa.     Part  III.,  Fig.  23. 

800-802.     Tea-jars.  1600 

803.     Globular  tea-jar.     Very  hard  light  brown  clay,  overglaze  light  olive  mottled.     1630 

804-810.    Tea-jars.  1680-1780 

811.  Circular  dish,  modeled  by  hand.     D.  4  in.     Hard  fawn  clay,  thick  chocolate-brown 
glaze  with  large  areas  of  olive-green  glaze  mottled.  178° 

HIGO  CELADON   (Case  8) 

812.  Flower-holder.     H.  4  in.     Dark  brown  clay,  rich  greenish  celadon  glaze,  coarsely 
crackled.     Obscure  figures  rudely  impressed.  17°° 

813.  Incense-burner  (?).     D.  4^  in.     Hard  white  stone  clay,  thin  dull   green  celadon 
glaze.    On  sloping  shoulder  band  of  flowers  and  scrolls  deeply  cut.  i73° 


j6  THE   CATALOGUE 

KODA   (Case  8  and  Plate  IV.  814,  835,  836) 

This  pottery  is  known  as  Koda  In  the  province  it  is  often  called  Takata,  which 
is  another  pronunciation  of  the  same  name.  Elsewhere  in  Japan  it  is  known  as  Yatsu- 
shiro,  for  to  this  place  the  pottery  has,  within  a  hundred  years,  been  consigned  for 
sale.  Its  origin  is  due  to  Korean  potters.  Early  pieces  have  white  brush-marks  under 
^  gray  glaze ;  following  this  came  simple  conventional  lines  in  Mishima.  These  two 
methods  were  strictly  Korean.  Finally,  Japanese  methods  brought  in  exquisite 
designs  of  natural  objects,  usually  impressed,  rarely  incised,  of  plum  blossoms, 
bamboo,  etc.,  filled  with  white,  rarely  black,  and  of  extreme  rarity,  blue.  The  pottery 
is  made  of  finely  sifted  reddish  clay  covered  with  a  warm  gray  glaze,  rarely  white. 
The  utmost  nicety  is  shown  in  the  fashioning  of  the  pieces,  which  are  usually  in  the 
form  of  small  tea-pots,  cups,  and  little  plates.  Most  of  the  signatures  are  evidently 
furnace-marks  of  different  potters  who  baked  in  a  communal  oven.  The  great  merit 
of  the  K5da  potters  is  that  in  addition  to  the  beautiful  and  attractive  character  of  their 
work  they  have  been  true  to  themselves  and  their  country's  art ;  they  have  never 
been  tempted  to  make  stuff  for  the  foreign  trade. 

The  work  Toki  Sh5shi,  by  Koga  Seishu,  gives  the  generations  of  Koda  potters 
as  follows :  The  first  pottery  was  made  in  Koda  in  1632  by  a  Korean  named  Sonkai, 
who  afterwards  changed  his  name  to  Agano  Kizo,  who  represents  the  first  generation  ; 
second  generation  Chubei,  pseudonym  Hosan ;  third  generation  Chubei,  pseudonym 
Ippu ;  fourth  generation  Chubei ;  fifth  generation  Chuzo ;  sixth  generation  Chubei ; 
seventh  generation  Saibei,  pseudonym  Suzo ;  eighth  generation,  the  present  one, 
Teizo. 

Mr.  J.  Tokutomi,  the  distinguished  writer  and  editor  of  The  Nations  Friend,  has 
kindly  sent  to  Higo,  his  native  province,  for  information  regarding  certain  Higo  marks 
which  I  sent  to  him,  and  to  him  I  am  greatly  indebted  for  the  following  information. 

There  appear  to  have  been  two  branches  of  the  original  Kizo.  The  first  Kizo 
is  represented  by  eight  generations.  From  the  second  to  the  sixth  the  families  bore 
the  name  of  Chubei,  the  seventh  was  known  as  Hosan,  the  eighth  as  Teizo.  The 
impressed  mark  To  was  used  by  the  sixth,  the  impressed  mark  Sai  by  the  seventh, 
the  incised  mark  Tei  by  the  eighth.  The  objects  in  the  collection  bearing  these  marks 
do  not  accord  in  age  with  the  probable  period  of  these  families.  A  branch  of  Kizo  had 
for  its  founder  Tarosuke  Agano,  and  the  second,  third,  and  fourth  generations  bore 
the  same  name.  The  fifth  generation  was  Gentaro,  and  the  sixth  was  Yaichiro.  The 
impressed  mark  Gen  in  two  forms  was  used  by  the  fifth  generation.  Another  branch 
springing  from  Kizo  was  as  follows  :  2d,  Toshiro  ;  3d,  Kuriyemon  ;  4th,  Toshiro  ;  5th, 
Soshiro ;  6th,  Toshiro ;  7th,  Yayei ;  8th,  Toshiro ;  and  9th,  Jirokichi.  Of  this  line 
the  impressed  mark  To  was  used  by  Yayei,  the  incised  mark  Katsu  was  used  by  one 
of  the  Toshiros,  and  the  impressed  mark  Ka  by  Jirokichi.  It  would  seem  more  likely 
that  Ya  was  the  mark  of  Yayei,  and  To  was  the  mark  of  one  of  the  Toshiros. 

As  there  is  no  accordance  between  the  memoranda  furnished  by  Mr.  Tokutomi 
and  the  account  as  given  by  Koga  Seishu,  and,  furthermore,  as  the  objects  in  the 
collection  bearing  the  above-mentioned  marks  do  not  correspond  in  age  with  the  sup- 
posed dates  of  the  generations  to  which  they  are  attributed,  I  find  it  impossible  to 


PROVINCE   OF  HIGO  77 

separate  the  families  with  any  certainty,  and  so  they  are  all  grouped  under  the  general 
name  of  Koda. 

814.  Deep  bowl,  straight  and  flaring  sides.  D.  i\  in.  Coarse  light  reddish  clay  with 
large  white  granules,  mixed ;  transparent  glaze,  wide  brush-marks  of  white.  Made  by  a 
Korean  potter  and  dug  up  near  the  castle-gate  of  Kumamoto.  1600 

815.  Tea-bowl,  with  flaring  sides.  D.  5^  in.  Coarse  light  brownish  clay,  large  white 
granules  intermixed.     Gray  glaze,  brush-marks  of  white  inside  and  out.     Identical  with  814. 

Gift  of  Denman  W.  Ross.  1600 

816.  Incense-burner.  D.  6J  in.  Flaring  rim  and  elaborately  wrought  silver  cover. 
Hard  gray  clay,  fine  hard  light  gray  glaze.  On  rim,  above,  cloud  and  crane  and  scroll, 
border  impressed  in  black  and  white  Mishima.  Below  rim,  scrolls  incised,  and  on  body, 
band  of  scallops  impressed  in  black  and  white  Mishima.     Rudely  potted  and  stoved.        1600 

817.  Jar,  with  three  ears.  H.  \o\\  in.  Coarse  reddish-brown  clay,  underglaze  trans- 
parent, showing   dead   reddish-brown ;   upper  portion   covered   with  thick 

olive-brown  glaze  running  in  narrow  streams  to  bottom,  flecked  with  light 
fawn,  iridescent.     Chubei  (inc.).  1650 

Gift  of  Henry  O.  Havemeyer. 

The  founder  of  the  Koda  pottery,  as  before  remarked,  is  said  to  have  been 
Agano  Kizo.  The  second  generation  (1666),  third  generation  (1700),  fourth 
generation  (1733),  and  fifth  generation  (1766),  were  known  as  Chubei.  The 
jar  above  described,  judging  from  the  iridescent  overglaze,  was  probably  made 
by  the  second  or  third  generation.  It  is  the  only  example  I  have  ever  seen 
of  the  work  of  these  early  potters,  and  the  incised  mark  Chubei  is  probably 
unique. 

818.  Incense-burner.  H.  sf  in.  Globular  body,  flaring  base.  Toad  on 
cover.  Fine  light  brown  clay,  greenish-gray  glaze  mottled;  cranes,  dots, 
scallops,  band,  etc.,  in  black  and  white  Mishima.  Thick  overglaze  in 
places.     Deep  closely  wound  left-hand  spiral  on  bottom.  1650 

8ig.  Pillow-rest,  with  perforated  design.  L.  6|  in.  Fine  gray  clay, 
light  gray  glaze;  stars,  borders,  etc.,  in  white  and  black  Mishima.  1650 

The  above  four  objects  are  strictly  Korean  in  style. 

820.  Flower-vase.  H.  9J  in.  Large  body,  cylindrical  neck  with  projecting  rim,  two  looped 
handles  rudely  moulded.  Coarse  brownish  clay,  coarse  brown  glaze  mottled  with  black. 
Roughly  made.  1650 

821.  Screen  for  writing-table.  W.  4J  in.  Light  reddish-brown  clay,  light  grayish  glaze 
with  light  brown  areas.     Dragon  incised  in  white  Mishima.     Naka  (inc.).  1720 

822.  Flower-vase.  H.  7  in.  Body  square,  gracefully  tapering  to  long  cylindrical  neck. 
Reddish-brown  clay,  dark  gray  glaze.     Vertical  interrupted  lines  incised  in  white  Mishima. 

1720 

823.  Hanging  flower-holder,  in  form  of  square  wooden  bucket.  H.  6J  in.  Fine 
brown  clay,  dark  gray  glaze.     Incised  wood  graining  in  white  Mishima.  1750 

824.  Bowl.  D.  4J  in.  Dull  light  brown  clay,  gray  glaze,  vertical  crackle.  Hosokawa 
crest  in  white  Mishima.  *77° 

Type  Ninagawa.     Part  III.,  Fig.  24. 


78  THE   CATALOGUE 

825.  Plate.  D.  7J  in.  Fine  reddish  clay,  olive  glaze  on  under  side.  Poem  in  square 
and  written  characters  incised  in  white  Mishima.     Inside,  large  plum  blossom  in  white  slip. 

1770 
826-829.  Bowls  of  typical  Koda  with  white  Mishima  decoration  of  various  designs  on 
white  slip  scratched  through  in  basket  design.  Basal  ring  grooved  on  lower  face.  Evidently 
made  by  one  potter.  1770 

830.  Jar.  H.  s  in.  Looped  handles,  pottery  cover.  Light  reddish-brown  clay,  warm 
gray  glaze.  On  each  side  large  peony  in  white  Mishima,  evidently  made  by  the  same  potter 
as  the  last.  1770 

Gift  of  Denman  W.  Ross. 

831.  Paper-weight,  block-shaped.     L.  3J  in.  1780 

832.  Fire-bowl.  1780 

833.  Paper-weight,  in  form  of  long  bar.  L.  6J  in.  Beautifully  moulded  shell  and  aquatic 
plant  on  upper  face.  1820 

834.  Tea-cloth-holder.     H.  2%  in.     Crane  in  black  and  white  Mishima.  1820 

835.  Bowl.  D.  4J  in.  Dark  brown  clay,  clear  light  gray  glaze.  Clouds  and  crane  in 
white  and  blue  Mishima.     Band  of  oblique  lines  in  white  about  rim.  1820 

An  exceedingly  rare  type  of  Koda. 

836.  Water-vessel  for  ink-stone.  D.  2^  in.  Light  fawn  clay,  light  gray  glaze.  Pine  in 
black  and  white  Mishima.     Tei  (inc.).  1825     J^ 

Made  by  Teizo  Agano,  the  eighth  generation  from  Kizo  Agano,  the  founder  of  the      2 
family.  8^ 

837-840.    Various  PIECES.  1820-1840 

841.  Tea-cup.  D.  2f  in.  White  porcelain  body  and  cream-white  glaze.  Plum  blossom, 
and  about  rim  Greek  fret  in  black  Mishima.  1840 

Made  for  governor  of  Yatsushiro. 

842.  Flower-holder  (?).  H.  3I  in.  Dark  reddish-brown  clay,  dark  olive-gray  glaze. 
Sketch  of  Shimabara  Mountains  and  birds  incised  in  white  Mishima.  1840 

843-856.    Various  pieces.  1840-1850 

857-866.  Various  pieces,  some  of  them  bearing  marks  of  Kodzu  (857),  Katsu  (858), 
incised,  7^(859),  Ka  (863),  and  Higo  (865),  impressed.  1850-1870 

857  858  859  863  S6s 

867-874'  Consisting  of  plates,  jars,  flower-vase,  paper-weight,  bottles,  etc.,  bear  the 
impressed  mark  Gen  {Mitiamotd)  and  represent  the  work  of  the  best  potter  of  modern  Koda. 

1870 


PROVINCE   OF  HIGO 


79 


875-886.  Various  pieces,  consisting  of  tea-jars,  tea-pots,  tea-cup,  bowls,  etc.,  with  furnace- 
marks  of  Matsu  (87s),  Sai  i  (876),  Ya  (881),  //  (883),  Toyo  i  (884),  Yatsushiro  and  Sogen 
(885).  Some  of  these  are  black  Mishima  on  a  white  ground,  and  a  few  have  light  chocolate 
glaze.  1870-1880 


-^b. 


875 


876 


883 


It  may  be  well  to  add  the  information  alluded  to  under  Koda,  page  76,  which  Mr.  Tokutomi  sent 
tome  regarding  the  if^^  marks  above  given.  857;  "nothing  is  known  about  this."  858;  "this 
mark  was  used  by  Toshiro  Ueno,  who  was  called  Katsuki  in  his  youth."  859;  "this  mark  was 
used  by  the  sixth  heir  of  Kizo  Agano,  the  seventh  heir  of  Toshiro  Agano,  and  by  the  eighth  heir  of 
Kizo  Agano.  Kizo  Agano  himself  used  this  signature."  863 ;  "  was  not  able  to  find  out  anything 
about  this."  865 ;  "  not  read."  867 ;  "  this  mark  was  used  by  Gentaro  Agano,  the  fifth  heir  <rf 
Tarosuke  Ueno  Agano,  the  younger  son  of  Toshiro  Agano,  the  second  heir  of  Kizo  Agano  the 
founder."  868  ;  "this  mark  was  used  by  Gentaro  Ueno  in  his  youth,  who  was  the  fifth  heir  of  Taro- 
suke Ueno."  875;  "no  information  about  this."  876;  "this  mark  was  used  by  Hosan  (who  was 
called  Saibei  in  his  youth),  the  seventh  heir  to  Kizo  Agano."  881 ;  "this  mark  was  used  by  Yaichiro 
Ueno,  the  sixth  heir  of  Tarosuke  Ueno."  883 ;  "  this  mark  was  used  by  Jiro  Ueno,  the  ninth  heir  of 
Kizo  Ueno."  884;  "this  mark  was  used  by  Hosan,  the  fifth  heir  of  Kizo  Ueno."  885;  "this  mark 
was  used  by  Nibuzo  Yoshiwara,  a  native  of  Yashiro  Machi,  Yashiro  County.  He  was  one  of  the 
followers  of  the  Agano  family." 

AMIDAYAMA   (Case  8) 

A  pottery  having  white  glaze  with  blue  decoration  was  made  at  Amidayama  in  the 
latter  part  of  the  last  century.  Imitations  of  Hizen  and  also  Chinese  porcelain  were 
attempted.     Specimens  of  this  work  are  very  rare. 

887.  Haisen,  in  form  of  tsutsumi  (a  kind  of  drum).    H.  10  in.    Hard  white  stone  clay,  white 
crackled  glaze.    Formal  design  of  clouds, 

waves,  scrolls,  etc.,  and  encircling  bands  of 
fret  in  light  blue.  Higo  Amidayama  no 
toko,  Kansei  nensei  (written  in  blue).    1797 

888.  Brush-holder.  H.  4f  in.  Fine 
fawn  clay,  thick  white  glaze  strongly 
crackled.  Chinese  landscape  delicately 
drawn  in  light  blue.  Higo,  Udo-gori,  Ami- 
dayama set  (written  in  blue).  1797 

889.  Tea-pot.  .  D.  ^^  in.  White  por- 
celain, circular  panels  of  landscapes  in 
light  blue.     Mark  same  as  last.  1797 

890.  Pear-shaped  bottle.     H.  33  in. 
red.     White  porcelain  clay  and  glaze< 
green,  etc.     Mark  same  as  last. 


O-t 


m 


,1  - 


w 


887 


Three  short  legs.     Scalloped  handles  outlined  in 
Over-decoration  of  landscape  in  blue,  red,  yellow, 

1797 


8o 


THE   CATALOGUE 


RAKU    (Case  8) 

At  one  time  a  Raku  pottery  was  made  near  Yatsushiro.  I  found  fragments  of  a 
red  Raku  pottery  near  Kumamoto,  and  these  were  identical  in  character  with  an 
incense-box  upon  which  is  incised  the  characters  Yatsushiro. 

891.  Incense-box,  in  form  of  lion,  delicately  moulded.     H.  2  in.    Light  red  Raku  clay 
and  glaze.      Yatsushiro  (inc.).  1800 

892.  Figure,  similar  to  last  in  clay  and  glaze.  1800      JLl^      // 

SHODAI    (Case  8)  ^' 

The  first  Shodai  pottery  was  made  at  Minami-seki,  at  the  foot  of  a  mountain  known 
as  Shodaiyama.  The  present  pottery  is  made  by  Noda  Matashichi,  who  signs  his 
work  Shodai  and  Kitakoji. 

893.  Tea-bowl.     D.  5I  in.     Chocolate-brown  clay,  thick  greenish-white  glaze,  mottled, 
without  lustre.     Basal  ring  notched.     5//«i/a/ (imp.).  1780 

894.  Tea-bowl,  D.  i\i  in.  Straight  sides,  flaring.  Dull  light  brown  clay,  mottled 
gray  underglaze ;  about  rim,  broad  band  of  thick  white  overglaze,  coarsely  crackled. 
Shodai  (imp.).  1840 

895-     Flower-holder.     H.  (>\  in.     Surface  with  oblique  incised  lines.    Reddish-brown 
clay,  thin  grayish-blue  underglaze,  thick  bluish-white  overglaze.     Shodai  and 
Kitakoji  (imp.).  1870 

896.  Bottle.  H.  9  in.  Dull  brown  clay,  transparent  underglaze,  trans- 
parent olive-green  overglaze  streaked  with  bluish-green  running.  Surface 
obliquely  grooved.     Shodai  and  Kitakoji  (imp.).  1870 

897-     Tea-bowl.      D.    5    in.      Dark  reddish-brown   clay,   olive -brown   glaze   richly  mot- 
tled with  greenish-white.     Right-hand  spiral  on  bottom.     Three  spur-marks  on 
side.     Kitakoji  (imp.).  1870  jmrtj 


893 


898 


SHOFO   (Case  8  and  Plate  IV.  902) 

The  father  of  Noda  Matashichi  started  a  separate  oven  and  made 
similar  pottery  to  that  of  his  son.  He  signed  his  pieces  ShofU,  and,  rarely, 
Kitakoji,  associated  wdth  it. 

898.  Large  basin  for  goldfish  and  flowers.     D.  i2|  in.     Flaring  rim.     Three 
short   supports.     Dark   reddish-brown  clay,  gray   mottled  underglaze  creeping  on  rim  ex- 
posing clay,  thick  white  overglaze,  minutely  punctured.     ShofU  and  Kitakoji  (imp.).  1830 

899.  Bowl.  D.  sJ  in.  Straight  sides,  flaring.  Dark  brown  clay, 
deep  olive-brown  glaze  with  streams  of  light  blue  and  fawn  over- 
glaze. Three  spur-marks  within.  Right-hand  spiral  on  bottom. 
Shd/a  (imp.).  .  1850 

900-903.     Tea-jar  and  three  bowls.     ShofU  (imp.).  1850 

904.     Flower-holder.    Unsigned.  1850 


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PROVINCE  OF   HIGO 


PROVINCE   OF  NAGATO  8i 

AMAKUSA  (Case  8) 

Two  rude  flower-vases  in  the  collection  were  secured  in  Higo,  and  were  there 
called  Amakusa  pottery.     They  are  unsigned  and  have  no  special  merit. 

905.  Flower-vase.     H.  7^  in.     Reddish  clay,  dark  golden-brown  underglaze,  middle  glaze 
purplish  and  mottled.     On  neck  rich  white  overglaze  flecked  with  blue.  i860 

906.  Flower-vase.    H.  5I  in.    Clumsy  in  form,  dull  coarse  light  red  clay,  light  olive-green 
underglaze,  thick  white  overglaze  flecked  with  fawn  and  blue.  1880 

MATSUMOTO   (Case  8) 

A  potter  of  Yamaga  named  Matsumoto  has  within  recent  years  modeled  figures  in 
clay.  Among  these  is  a  paper-weight  in  the  form  of  a  toad.  The  life-like  color  and 
attitude  of  the  creature  indicate  a  skilful  modeler. 

907.  Paper-weight  (toad).     L.  4  in.     Dark  slate  clay,  glaze  uncertain.     Paint  evidently 
used  in  coloring  back.     Higo  Yamaga  Matsumoto  Chozo  (^'ck^.').  1880 

908.  Incense-box  (frog).     L.  3^  in.    Coarse  brown  clay,  yellowish-white  under- 
glaze, green  overglaze.     Yama  (inc.).  1880 


ss^ 


KINRYOZAN    (Case  8) 

A  large  shallow  bowl,  with  typical  clay  and  glaze  of 
Koda,  has  been  made  within  recent  years  by  a  potter  who  go8 

has  evidently  departed  from  the  traditions  of  the  region. 

909.    Shallow  bowl.    D.  5}  in.    Deep  chocolate  clay,  warm  dark  gray  glaze.    Kinryuzan 
(imp.).  1880 


HIGO   IN   GENERAL  (Case  8) 

910.    Tea-bowl,  with  mark  Nochi  Asahi  impressed,  said  to  have  been  made  in 
Higo  in  1880. 


B 

910 


PROVINCE   OF   NAGATO 

With  the  exception  of  the  province  of  Bizen  there  is  no  other  province 
in  Japan  where  there  is  such  uniformity  in  the  general  appearance  of  its  pot- 
tery as  in  that  of  Nagato.  A  hundred  —  a  thousand  —  specimens  brought 
together  only  make  more  striking  the  sHght  variation  between  them.  The 
Japanese  experts  seem  readily  to  separate  the  pottery  of  Nagato  under  the 
names  of  Hagi,  Matsumoto,  and  Fukagawa,  yet  these  distinctions  become 
confusing  when  a  large  number  of  objects  is  brought  together.  The  dis- 
tinctions that  they  make  between  Matsumoto  and  Hagi  are  frivolous. 
Fukagawa  certainly  has  a  softer  clay.     An  authority  of   1700  mentions 


82  •  THE  CATALOGUE 

Hagi  only.  Ninagawa  says  Hagi  is  the  general  name  for  Matsumoto  and 
Fukagawa;  and  yet  Fukagawa  is  a  separate  town  from  Matsumoto.  To 
make  the  discriminations  more  difficult,  Nagato  pottery  is  rarely  signed ; 
furnace-marks  even  are  not  seen ;  and  so  in  many  cases  distinctions  are 
impossible. 

HAGI    (Case  9) 

Japanese  antiquarians  make  a  distinction  between  Hagi  and  Ko  Hagi,  and  though 
the  distinction  amounts  to  nothing  save  as  a  matter  of  age,  there  is  yet  a  marked 
difference  in  the  appearance  of  the  older  forms.  Tokiko  says  that  Ko  Hagi  is  often 
mistaken  for  early  Izumo,  and  this  is  doubtless  due  to  Korean  influence  in  both 
instances.  According  to  Ninagawa  and  other  authorities,  the  first  potter  of  Hagi  was 
a  Korean  named  Rikei,  afterwards  called  Saka  Koraizayemon.  The  descendants  of 
Rikei  attained  the  rank  of  Samurai 

gi2.  Bowl,  flaring  sides.  D.  5J  in.  Soft  brownish  clay  roughened,  thick  white  glaze  with 
extra  white  overglaze  running  from  rim.    Coarsely  crackled.    Four  spur-marks  within.      1580 

913,  914.     Bowls.  1600-1630 

915-  Bowl.  D.  5J  in.  Fawn  clay,  thick  cream  glaze  finely  crackled.  Under-decoration 
of  light  blue  bamboo  leaves ;  over-decoration  of  dark  brown  bamboo  leaves  and  plum  blos- 
soms.    Sides  compressed,  rim  cut.     Basal  ring  with  two  notches.  1650 

916—918.     BowLS.  1650-1700 

919-  Rest  for  cover,  in  form  of  a  drum-shaped  ring.  H.  ij  in.  Light  fawn  clay,  light 
cream  glaze.     Thick  walls,  design  perforated.  1780 

920.  Cake-plate  on  three  looped  legs.  D.  8  in.  Rim  crenulated.  Coarse  light  fawn 
clay,  thick  grayish-white  glaze  strongly  crackled.  In  centre  of  plate  under-decoration  of 
flowers  roughly  sketched  in  black  and  gray.  .  1780 

Rare  form. 
921-924.    Bowls  and  bottles.  1780-1830 

925.  Tea-bowl.  D.  45  in.  Rough  light  fawn  clay,  buff  underglaze,  darker  overglaze. 
Sides  compressed,  one   side   sliced.     Basal   ring   with   two   notches. 

Karamine  (imp.).  1800 

926.  Deep  bowl.     D.  d,\  in.     Light  fawn  clay,  much  roughened  on  lower    ^L* 
part,  deep  fawn  glaze,  glossy,  coarsely  crackled.    Right  thread-mark.      1830       ^ 

927-     Deep  bowl.     D.  3|in.     Strongly  turned,  fine  fawn  clay,  thick  light 
chocolate-brown  glaze.     Saji  (inc.).  1830      927 

928-931-     Bottle,  incense-boxes,  jar.  1830-1850 

MATSUMOTO   (Case  9) 

Under  this  name  are  included  many  pieces  identified  by  Ninagawa  and  others  as 
Matsumoto,  and  though  the  division  appears  artificial,  yet  those  with  finer  and  harder 


PROVINCE   OF  NAGATO  83 

clay,  and  grayish  or  greenish-gray  glaze,  as  well  as  many  with  fine  glaze  with  pinkish 
tinges,  are  here  included.  It  is  said  that  Miwa,  a  native  of  Yamato,  established  a 
pottery  in  Matsumoto  in  1661-1672,  following  Korean  methods. 

932-  Jar.  H.  5I  in.  Heavy  and  thick.  Fine  hard  light  gray  clay,  light  greenish-white 
glaze  coarsely  crackled.  1600 

933-  Flower-vase,  in  form  of  slender  flask-shaped  bottle.  H.  9I  in.  Light  fawn  clay, 
fine  cream-white  glaze  finely  crackled.  1600 

934*  Bowl.  D.  6  in.  Fine  light  fawn  clay,  cream-white  glaze  crackled,  curdled  in  por- 
tions.    Rim  cut.     Base  solid  and  cut  through  with  two  simicircular  grooves  at  right  angles. 

1600 
935*     Tea-bowl.     D.  sf  in.     Dull  curdled  white  glaze.  1650 

936.  Tea-bowl.  D.  3I  in.  Side  cut  and  lapped  over  with  two  knobs.  Coarse  fawn  clay, 
thick  cream-white  glaze  running  in  drops.     Roughly  made.  1700 

937.  Shallow  cake-plate.  D.  \o\  in.  Hard  gray  clay  with  reddish  areas,  thick  pinkish- 
white  glaze.  Inside,  cut  area  through  centre,  from  which  three  lines  radiate  to  one  side ;  on 
opposite  side,  shallow  wide  cut  to  edge.     Basal  ring  cut  in  three  wide  notches.  1700 

938.  Cake-plate,  rim  in  four  scallops  with  lines  drawn  to  centre.  D.  6|  in.  Rich  pinkish 
glaze  ;  below,  purplish  tinges.  173° 

939-     Bowl,  similar  in  character.  1730 

940.  Cake-plate,  rim  with  four  crenulations.  D.  8J  in.  Hard  fawn  clay,  fine  light  pink- 
ish-gray glaze  with  darker  areas.  Inside,  under-decoration,  double  circle  and  pine  needles  in 
blue.  173° 

941,  942.    Tea-jar  and  Haisen.  1730 

943.  Seal,  in  form  of  mythological  lion  resting  on  ball.  H.  2\  in.  Figure  deeply  carved. 
On  raised  portions  thick  white  glaze.     Unique  form.  1730 

944.  Jar,  four  low  knobs  around  shoulder,  and  fillet  just  below.  H.  14  in.  Dark  brown 
clay  with  white  granules,  thick  light  grayish  glaze  with  fine  dark  spots.   Pinkish  areas.     1750 

(On  top  of  Case  9.) 

945~9^7'    Various  pieces,  consisting  of  incense-burner,  jars,  leaf-shaped  cake-dishes,  tea- 
bowls,  and  bottle,  ranging  from    1750     to    1840.     Of 
these  the  mark  of  959  has  not  been  read,  960  is  San-  «■■ 

nose,  967  is  Ichi. 

968.  Tea-cup.  D.  2f  in.  Fine  grayish  clay,  with 
light  red  tinges,  irregular  stripes  of  thick  white  and 
deep  brown  glaze  on  unglazed  surface.  i860 

969-974-     Various  pieces,  consisting  of  cake-dishes         959  960  967 

with  deeply  folded  rims,  cup-rest,  plate  for  raw  fish, 

and  other  forms,  with  thick  glaze  deeply  curdled  into  drops,  either  white  or  light  brown  in 
color.  1750-1850 


84  THE  CATALOGUE 

SETSUZAN    (Case  9  and  Plate  V.  975) 

In  1750  the  governor  of  Nagato  invited  a  potter  from  Yamato  to  erect  a  kiln  in 
Matsumoto.  This  potter  was  first  known  by  the  name  of  Miwa,  and  after- 
wards assumed  the  name  of  Dorusuke.  He  was  a  direct  descendant  of 
Miwa  Kiusetsa  His  work  was  considered  rough,  but  tasteful.  Speci- 
mens are  signed  with  the  impressed  mark  Setsuzan,  and  are  of  extreme 
rarity. 

975*     Bowl.     D.  f>\  in.     Very  coarse   light  brown   clay,  thick  white  glaze,  ^^' 

deeply  tinged   with    pink,   coarsely   crackled    and    pitted.      Thick  walls,   sides    flattened. 
Roughly  turned  on  base.       Right-hand  spiral.      Basal  ring  with  three  notches. 
Setsuzan  (imp.).  1750 

976.    Squat  jar,  deeply  constricted  in  middle.     D.  8J  in.     Light  buff  clay,  transparent 

underglaze,   splashes    of    thick    pinkish-white    overglaze. 

Setsuzan  saku  roughly  incised.  1880  ^ 

This  piece  is  possibly  made  by  a  descendant  of  the  first  Setsuzan. 

Gift  of  W.  S.  Bigelow. 


MICHISUKE  (Case  9  and  Plate  V.  977) 

Saka  Michisuke,  a  direct  descendant  of  the  original  Korean  potter, 
Saka  Koraizayemon,  followed  the  potter's  art  at  a  place  called  Naka- 
nokura,  in  Matsumoto.  The  single  specimen  in  the  collection  shows 
the  work  of  a  vigorous  modeler. 

977-     Incense-box,  in  form  of  crab.     W.  j,\  in.     Fine  light  gray  clay  with 
red  tinges,  transparent  underglaze,  thick  white  overglaze  in  areas.  1872 

Type  Ninagawa.     Part  V.,  Fig.  28. 


FUKAGAWA    (Case  9  and  Plate  V.  984)  ^ 

The  pottery  attributed  to  the  village  of  Fukagawa  (pronounced,  in 
the  province,  Fukawa)  has  a  finer  and  smoother  glaze  than  Hagi ;  its  color  is  warmer, 
and  often  pinkish  in  hue,  this  being  particularly  so  with  recent  work.  It  is  difficult  to 
make  distinctions  in  the  older  work.  The  pottery  of  Fukagawa  originated  from  Hagi, 
and  doubtless  the  same  clay  and  glaze,  or  similar  materials,  were  used.  Certainly  the 
methods  were  the  same. 

978.     Tea-bowl.     D.  61"^  in.     Rough  light  brown  clay,  rich  fawn  glaze.    Thick  areas  of 
white  glaze  on  rim,  lower  portion  of  bowl,  and  inside  basal  rim.     Within,  five  spur-marks. 

1600 

979-     Bowl.     D.  5J  in.     Fine  fawn  clay,  smooth  fawn  glaze  minutely  crackled.     Base  with 
three  deeply  cut  notches.  1630 

980-983.     Bowls.  1680-1730 

984.     Incense-box,  in  form  of  branch  of  biwa  with  leaves  and  fruit.    L.  6  in.    Dull  fawn 
clay  and  glaze,  tips  of  fruit  touched  with  brown.  1730 


CASE    9 


937 


9X0 


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167         /      ..     >!ilO^®^       910X^9^8 


973 


PROVINCE   OF  NAGATO 


PROVINCE   OF  KAGA  85 

985—999-  Various  pieces,  consisting  of  tea-bowls,  cake-plates,  deep  cups,  single  flower- 
holder,  covered  jar,  incense-box,  rest  for  cover,  etc.  1750-1850 

1000.  Bowl.  D.  \\\  in.  Fine  light  fawn  clay,  dark  fawn  underglaze,  cream  overglaze, 
plum  blossoms  in  thick  white  drops  with  stems  in  brown.  1850 

1001.  Covered  bowl.    D.  \\  in.    Light  fawn  clay,  thick  smooth  cream-white  glaze.      1870 
This  represents  the  ordinary  form  of  food-bowl  of  the  people. 

1002.  Cake-bowl.  D.  5I  in.  Roughly  modeled  handles.  Fine  fawn  clay,  dark  fawn 
underglaze,  fawn  overglaze  within  and  splashed  without.     Incised  clouds  and  cross-lines. 

•   1873 

PROVINCE   OF   KAGA 

The  name  of  this  province,  like  that  of  Satsuma,  has  become  widely 
known  abroad  through  its  faience  and  porcelain.  The  output  of  the  Kaga 
ovens  in  furnishing  pottery  for  the  world's  demand  is  very  great.  Yet  just 
in  proportion  to  the  effort  to  fill  this  demand  is  seen  a  corresponding 
deterioration  in  the  work.  One  had  only  to  compare  the  exhibit  of  Kaga 
potters  at  Chicago  in  1893  with  a  similar  exhibit  in  Philadelphia  in  1876 
to  realize  this  deterioration.  There  is  little  variation  to  be  seen  in  the 
pottery.  One  piece  of  the  bright  red  and  gold  decorated  faience  of  Kaga 
will  stand  as  a  type  for  the  thousands  of  pieces  exported.  The  difference 
between  this  modern  stuff  and  the  original  red  is  very  striking. 

KAGA    (Case  10) 

1003.  Tea-jar  (flat).  H.  if  in.  D.  4  in.  Rough  brown  clay,  thick  light  brown  glaze, 
smooth  bottom.  1680 

1004.  Tea-jar.  H.  3!  in.  Two  knobs  on  shoulder.  Soft  fawn  clay,  mottled  blue  and 
fawn  glaze,  splashes  of  olive-brown  overglaze  running.  Right  thread-mark.  L-shaped  line 
incised.  1680 

1005.  Tea-jar.  H.  3J  in.  Gray  clay,  mottled  olive-green  and  gray  glaze  with  bluish-black 
stream  running.     Golden-brown  showing  through  on  shoulder.  1680 

1006.  Tea-jar.     H.  3  in.  1680 

KUTANI   (Case  10) 

The  pottery  derives  its  name  from  the  village  in  which  it  was  first  made.  Pieces 
in  the  form  of  tea-bowls,  tea-jars,  and  the  like  were  first  made  by  Tamura  Gonzayemon 
in  the  first  half  of  the  seventeenth  century.  His  work  followed  Seto  models,  and  it  is 
possible  that  some  of  the  tea-jars  above  catalogued  were  made  by  him.  In  1650  Goto 
Saijiro  began  the  making  of  porcelain  after  his  return  from  Hizen,  to  which  place  he 
had  gone  to  learn  the  secrets  of  the  art.  He  worked  with  Kakiyemon,  and  went  so 
far  as  to  marry  his  daughter  in  order  the  more  readily  to  learn  the  mysteries  of  porce- 


86  THE  CATALOGUE 

lain  decoration.  The  famous  artist,  Morikage,  came  to  Kaga  at  this  time  and  made 
many  designs  for  porcelain  decoration.  Mr.  Takano,  an  intelligent  citizen  of  Kaga, 
told  me  that  Yoshiya  Hachiroyemon,  a  native  of  Kaga,  in  the  early  part  of  this 
century,  copied  designs  from  an  old  book  in  which  were  pictures  of  famous  Chinese 
inks.  These  sticks  of  ink  had  in  relief  pictures  of  dragons  and  other  mythological 
creatures,  and,  hence,  in  old  red  Kutani  one  sees  these  subjects  used  as  motives  in 
decoration.  Native  authorities  say  that  green  Kutani  dates  back  to  1680  or  there- 
abouts, and  that  red  Kutani  began  in  the  early  years  of  this  century  with  Hachiroye- 
mon. In  1815,  owing  to  a  disastrous  landslide,  the  ovens  were  removed  from  Kutani 
to  the  village  of  Yamashiro,  some  distance  from  Kutani,  and  here  they  have  remained, 
though  the  product  is  still  signed  with  the  old  mark  Kutani.  There  are  a  number  of 
other  places  in  Kaga  where  red  Kutani  is  made.  It  is  said  that  the  Kutani  showing  a 
cloudy  or  mottled  red  was  decorated  in  Kaga,  while  the  red  applied  evenly  has  been 
decorated  in  Tokyo.  It  is  well  known  that  much,  if  not  all,  of  the  modern  Kutani  is 
decorated  in  TSkyo. 

1007.  Flask-shaped  bottle  (possibly  for  flowers).  H.  8J  in.  Fine  light  brown  clay,  rich 
ivory-white  glaze,  crackled  below  and  stained  light  brown.  Deep  encircling  lines  from  top 
to  bottom.  1630 

1008.  Cake-tray.  L.  5I  in.  White  porcelain;  rim,  light  brown  glaze;  margin  within, 
deep  blue,  with  wood  graining  in  black.  Inside,  bird  with  dragon  mouth,  clouds  and  waves 
in  various  colors.  Outside,  scrolls  in  light  green  and  red  outlined  in  black.  Comb-mark  in 
blue  on  basal  ring.     Fuku  in  blue  on  square  green  panel.  1680 

1009.  Square  dish.     D.  4J  in.     Similar  to  last.     Fuku  in  black.  1680 

1010.  Square  incense-burner.  H.  i\^  in.  White  stone  clay,  cloth-marked  inside  and 
out ;  white  porcelain  glaze,  overglaze  red,  with  reserve  areas  of  flowers  and  leaves.  Flowers 
outlined  in  red,  leaves  with  touches  of  red  lined  with  black.  1680 

IOII-IOI4.  Dish,  bottle,  square  box,  oblong  cake-dish.  White  porcelain  clay,  vari- 
ously decorated.  1700-1780 

GREEN    KUTANI   (Case  10  and  Plate  V.  1016) 

Two  objects  are  here  introduced  as  illustrating  models  from  which  the  Japanese 
potter  derived  certain  styles  known  as  K5chi.  The  spiral  lines  in  the  decoration  of 
the  shallow  bowl  are  seen  in  the  old  green  Kutani.  This  bowl  was  secured  from 
Ninagawa.  It  has  an  age  of  three  or  four  hundred  years.  Both  objects  were  probably 
made  in  China  proper. 

IOI4A.  Shallow  bowl.  D.  6|  in.  Very  irregular  in  outline.  Coarse  brown  clay,  bright 
dark  green  glaze  with  quaint  fishes  inside  in  light  yellow  outlined  in  black  and  green.  Curi- 
ous design  on  bottom,  inside,  with  dark  pink  imbrications,  evidently  intended  to  represent  a 
fire  beacon,  around  which  the  fish  are  swimming.  Entire  surface  of  glaze,  inside  and  out, 
covered  with  black  spiral  lines.  Rim  black.  Basal  ring  broad  and  shallow  applied  and 
crushed  out  of  shape.  1600 

XOI4B.  Incense-burner.  D.  3I  in.  ,  Fluted  body.  Fine  fawn  clay.  Outside,  rich  green 
glaze.  Inside,  yellowish  fawn  glaze  iridescent.  Upper  and  lower  halves  moulded  separately 
and  united.  /  1600 


PROVINCE   OF  KAGA 


87 


1015.  Flower -VASE.  H.  6|  in.  Coarse  dark  gray-brown  clay,  light  gray  glaze,  pine  in 
green  enamel  outlined  in  black.  1680 

1016.  Large  bowl.  D.  7^  in.  Gray  clay,  gray  underglaze.  Outside,  rich  green  glaze 
with  scalloped  spirals  in  black.  Inside,  diapers  in  green,  yellow,  purple,  and  blue.  Fruit 
and  flowers  in  same  colors,  outlined  in  black  on  light  fawn  ground.  Fuku,  in  black  on  green 
panel.  1730 

Type  Ninagawa.     Part  III.,  Fig.  24. 

1017.  Large  bowl.  D.  8^  in.  Hard  fawn  clay.  Outside  as  in  last.  Inside,  rich  yellow 
glaze  with  deep  brown  circles,  large  leaves  and  gourd  in  green  outlined  in  black.  Rich 
purple  areas  and  blue  flowers.     Fuku,  in  brown  on  yellow  panel.  1730 

1018.  lOig.  Square  box  and  plate.  1750-1800 
1020.     WiNE-cup,  with  high  base.    D.  2%  in.    Finzan,  written  in  brown.     1800 

I02I— 1032.     Various  pieces,  with  typical  green  Kutani  decoration,  consisting 
of  wine-bottles,  plates,  bowls,  cups,  tea-pot,  incense-box,  etc.  1800-1870 

1022  and  1023  are  signed  Kutani. 

RED   KUTANI    (Case  10)  '°^° 

1033.  Box,  in  shape  of  five-petaled  flower.  D.  2^  in.  Light  cream-white  clay  and  glaze, 
ground  of  clouded  red,  with  gold  leaves  and  minute  circles.     Kutani  (written).  1815 

1034*.  Square  wine-bottle.  H.  8|  in.  Hard  fawn  clay,  white  porcelain  glaze.  Poems 
and  figures  in  red  outline  touched  with  gold.     Various  panels  of  diapers  in  red.  1820 

1035.     Cake-dish.     D.  7j  n.     Light  fawn  clay  and  glaze.     Outside,  fine  digitated  scrolls 
in  red  touched  with  gold.     Inside,  elaborate  decoration  of  figures, 
house,  etc.,  and  band  of  panels  and  other  dfpigns  in  red  outlined  in 


gold.     Kutani  (written). 

1036.  Tea-cup.     D.  3  in.     Light  gray  stone 
clay,  light  gray  glaze,  spray  of  leaves  in  dull  red      -^^ 
and  brown.     Kutani  (written).  1830     '  , 

Peculiar  type.  "^^S.. 

1037,  1038.     Hexagonal  wine-bottles.    H.       ,036 
7  J  and  8  in.     Elaborate  decoration  of  panels, 
figures,  etc.,  in  various  colors.   Kutani  (written). 

1850 

I039~I04^*    Cake-dish,  tea-pots,  etc.  Kutani 
(written  and  impressed).  1850 

1042.     Large  bowl.    D.  i2|  in.    Light  cream- 
white  clay  and  glaze,  fret  about  border,  dragon 
and  clouds  in  red  outlined  in  gold.    Inside,  gilded, 
sacred  turtle  in  red  shaded  in  gold. 
Kutani  (written).  1850  ^039 

Gift  of  A.  D.  Weld  French. 

(On  top  of  Case  10.) 


1820 


1038 


103s 


1041 


88  THE   CATALOGUE 

1043.  Flower-vase.  H.  8f  in.  Upper  portion  flaring,  middle  cylindrical,  below  spherical, 
supported  on  three  curved  legs.  Decoration  of  diapers,  mythological  bird,  scrolls,  flowers, 
etc.,  in  red  and  gold.  Inside,  elaborate  drawing  of  dragons  in  red  and  gold.  Kutani 
(written).  1850 

Gift  of  A.  D.  Weld  French. 

1044.  Octagonal  cup.  D.  2\%  in.  Semi-porcelain.  Elaborate  decoration  of  scrolls, 
etc.,  in  red,  green,  yellow,  and  blue,  with  black  outline.  Kutani  (written).  1850 
IO45-IO47.    Tea-pot,  beaker,  covered  bottle.     1045  Kutani  (imp.).                1850-1860 

1048.  Large  bowl.     D.  6^^^  in.     Hard  light  fawn  clay,  light  cream  glaze.     Out- 
side,   oblique  spiral  bands  of  flowers,  diaper,   etc.,  in  red  and  gold.     Inside,  simi-    \Jul 
lar  decoration  with  four  circular  panels  of  flowers  in  green,  black,  and  red.    Kutani    W^ 
(written).  i86o 

Gift  of  W.  S.  Bigelow. 

1049.  Shallow  cake-bowl.  D.  5I  in.  Yellowish-white  clay  and  glaze.  Outside,  maple 
leaves  in  red.  Inside,  mythological  bird  in  red,  green,  blue,  and  black.  Around  border 
diagonal  lappets  with  diaper,  scrolls,  etc.,  in  red  and  gold.  Kutani  in  gold  on  red  panel 
(written).  i860 

Gift  of  W.  S.  Bigelow. 

1050.  Shallow  cake-bowl.  D.  55  in.  Light  stone  clay,  cream -white  glaze.  Inside, 
playing  cards  of  figures  and  poems.  Outside,  four  panels  of  flowers  and  landscape,  with  wave 
design  between.     Kutani  (written).  i860 

Gift  of  W.  S.  Bigelow. 

1051.  Ornamental  jar,  with  heavily  flanged  dome-shaped  cover,  knobbed.  H.  28J  in. 
Decoration  of  pine,  chrysanthemum,  mythological  animals,  etc.,  in  various  colors  on  a  white 
ground.     (On  top  of  Case  10.)  i860 

1052.  Flask-shaped  bottle,  probably  for  flowers.  H.  13  in.  Hard  white  clay  and  glaze, 
cloudy  red  ground.  Leaves  and  flowers  drawn  in  fine  red  lines.  Scrolls  in  gold,  and  leaves 
outlined  in  gold.  1880 

1053.  Round  incense -box.  D.  2-/b  in.  Light  clay,  hard  cream  glaze  crackled. 
Circles  of  alternate  red  and  green  outlined  in  black.     Kutani  (imp.),  Ju  in  red 

on  cover.  1872 

Made  by  Okura  Juraku. 


KUTANI    IN   GENERAL   (Case  10) 

The  following  pieces  differ  widely  from  red  or  green  Kutani,  but  1053 

nevertheless  are  so  classed  by  Japanese  experts. 

1054-  Cup.  D.  4f  in.  Hard  gray  clay.  One  half  of  bowl  vertically  glazed  a  dull  light 
brown  ;  the  other  half  dull  brown  Seto  glaze.  1800 

I055'  Covered  jar.  H.  8J  in.  Fine  light  brown  clay,  rich  deep  olive-brown  glaze,  under- 
glaze  decoration  of  cloud  and  crane  in  green  outlined  in  black.  Ornamental  border  in  green 
around  shoulder  and  base. 

1056.  Jar.  H.  5I  in.  Hard  brown  clay,  glistening  grayish-brown  glaze  clouded  and 
iridescent,  splash  of  light  reddish-brown  overglaze.  1830 


PROVINCE   OF  KAGA 


89 


1057.  Plate.     D.   5f   in.     Hard   brown  clay.     Two    thirds    surface  brown  Seto  glaze, 
remaining  portion  white  porcelain  glaze  with  scrolls  in  blue,  green,  and 
yellow  outlined  in  brown.  1850 

1058.  Cake-dish.  D.  5^  in.  Scalloped  sides.  Three  legs.  White 
stone  clay,  light  brown  glaze,  white  bird  with  blue  shading  on  deep 
brown  rock.  1850 

1059.  Covered  cake-dish.     D.  6i  in.     Hard  white  clay,  grayish- 
white  glaze.     Under-decoration  of  bands,  scrolls,  and  circular  panels 
in  three  radiating  divisions  in  greenish-blue. 
Dai  Nippon  Kutani  sei    (written).    ,  1800  1059 

1060.  Cake-dish,  in  form  of  large  leaf  and  melon  united,  supported  on  three  short  legs. 
L.  7  in.  Fine  light  fawn  clay,  greenish-white  glaze  finely  crackled.  Melon  portion,  inside, 
bright  green  glaze ;  on  leaf,  inside-decoration  of  vine  and  flowers  in  green,  yellow,  and  dark 
red.  1870 

RENDAIJI   (Case  10  and  Plate  V.  1061) 

In  the  work  Kaga  Etchu  Toji-Koso  it  is  recorded  that  Awabuya  Aoki  Genyemon, 
pupil  of  Teikichi,  made  pottery  at  Rendaiji  village.  He  signed  his  work  with  the 
pseudonym  Toko.  The  mark  must  be  very  rare,  as  the  author  of  the  above  work  had 
never  seen  it. 

1061.  Jar.  H.  6|  in.  Fine  fawn  clay ;  smooth  light 
gray  glaze,  sprinkled  with  minute  black  dots.  Vigorous 
drawing  of  flower  and  leaves  in  purple,  green,  blue,  and 
yellow  enamel.     7F/JJ  (written).  1806 

SOSENTEI  (Case  10) 

A  potter  and  painter  named  Asai  Kohachi,  with 
the  pseudonym  of  Sosentei  Ichigo,  made  pottery  in 
the  village  of  Yamashiro  in   1836.     He  baked  in  the  oven  of 
Miyamoto-ya,  successor  of  Yoshida-ya.     Specimens  of  his  work 
are  very  rare. 

1062.  Flask-shaped  flower-vase.  H.  lof  in.  White  stone  clay, 
white  porcelain  glaze ;  over-decoration  of  irregular  masses  in  bright 
red  shaded  with  gold.  Peonies  in  bright  red  outlined  in  gold,  and 
leaves  drawn  in  dark  red  lines.  On  side,  Sosentei  Ichigo  ga,  in  gold. 
On  bottom,  Kutani  sei,  in  gold.  1836 

Gift  of  W.  S.  Bigelow. 

ASANO   (Case  10) 

A  potter  named  Asano  Metabei  (by  another  authority  Gohei) 
is  said  to  have  made,  among  other  kinds,  black  glazed  bowls. 
The  mark  Asano  occurs  on  a  low  square  bottle  which  has  some 
resemblance  to  Buzen. 


90 


THE   CATALOGUE 


1063.  Low  SQUARE  BOTTLE,  short  neck.     H.  4  in.     Light  reddish-brown  clay,  deep  yellow- 
ish-brown glaze,  thick  light  fawn  overglaze,  mottled,  running  halfway  down;  edge  of 

glaze  tinged  with  light  blue.     Upper  portion  deeply  curdled.      Strong  cloth-mark 
impression  on  bottom.    Asano  (imp.).  1750 

OHI  (Case  10  and  Plate  V.  1067,  1068,  1070)  "^3 

Pottery  known  as  Ohi  is  made  in  a  village  by  that  name  in  the  eastern  part  of 
Kanazawa,  which  is  thirty  miles  from  Yamashiro  village.  It  is  said  that  the  first 
Ohi  pottery  was  made  by  Chozayemon,  a  brother  of  Ichiyu,  one  of  the  Raku  family. 
This  was  in  1683.  The  earliest  pieces  had  the  impressed  mark  Raku.  Early  bowls 
of  this  potter  have  a  close  spiral  line  cut  on  the  outside  of  the  vessel.  The  only 
ones  I  have  seen  of  this  character  appear  to  be  imitations.  In  1780  the  mark  Ohi 
was  first  used.  There  is  a  variety  of  these  marks  continuing  from  that  time  to  the 
present  day.  There  is  one  form  of  the  mark  Ohi  always  associated  with  the  earliest 
and  best  examples  of  the  work.  Ohi  pottery  is  a  characteristic  soft  Raku,  usually 
having  a  deep  rich  reddish-yellow,  or  "  honey  glaze  "  as  it  is  called  by  the  Japanese. 
The  pottery  which  nearest  resembles  it  is  a  form  made  at  Shizuhata,  Suruga,  and  so 
closely  does  this  resemble  Ohi  that  in  the  classical  collection  brought  together  by 
Japanese  experts  for  the  Philadelphia  Exposition,  which  formed  the  material  for  the 
famous  catalogue  of  the  South  Kensington  Collection  by  Dr.  Franks,  is  included  a 
specimen  of  Suruga,  under  Ohi,  the  mark  having  been  interpreted  Senki,  the  Sinico- 
Japanese  way  of  pronouncing  the  characters,  which  should  be  read  Shizuhata. 

1064.  Shallow  bowl.     D.  5J  in.     Soft  fawn  clay.     Rich  purple-brown  glaze  with  glisten- 
ing areas  of  reddish-orange.     Unglazed  areas.     Left-hand  spiral  on  bottom. 

Raku  (imp.).  1683 

1065.  Incense-box  (split  bell).  D.  2f  in.  Moulded.  Light  olive  glaze, 
inside,  dark  brownish  areas.  Ohi  Kambei  saku,  roku-ju  issai.  Temmei  hachi- 
nen  saru  hachi-gatsu  ju-go-nichi  (incised).  1788 

1064 


PROVINCE   OF  KAGA 


91 


If  this  is  genuine  it  represents  the  third  generation  of  Ohi.    The  specimen  does  not  bear 
evidences  of  this  age. 

The  three  following  specimens  represent  the  work  of  the  most  skilful  potter  of  Ohi, 

1067.  Incense-box  (Hotei).      D.  2^   in.      Light  fawn  clay.      Figure  unglazed,   drapery 
green  glaze ;  inside,  honey  glaze.     Lower  part  of  box  with  incised  scrolls. 
Ohi  (imp.).  1830 

1068.  Bowl.  D.  s|  in.  Fine  light  fawn  clay  and  glaze.  Decoration, 
branch  of  biwa  with  rich  green  leaves  and  yellow  fruit  outlined  with  dull 
brown.     Left-hand  spiral  on  bottom.     Ohi  (imp.).  1830 

1069.  Bowl.     D.  5J  in.     Soft  fawn  clay,  dark  orange-brown  glaze  with 
brownish  cloudings.     Iridescent.     Surface  roughened  and  cut.     Left-hand  spiral  on  bottom. 
Ohi  (imp.).  1830 

1070.  Incense-box,  lenticular.       D.  3  in.     Light  red  clay,  rich  light  red  Raku  glaze  with 
light  olive  areas,  scrolls  in  white  on  cover.    Inside,  brownish,yellow  glaze,  roughened  surface. 


1068 


Ohi  (imp.  inside  of  cover). 

I07I— 1076.    Various  pieces  of  Ohi.  1830 

1077'  Incense-box.  L.  3f  in.  Sacred  turtle 
moulded  on  cover.  Soft  light  fawn  clay,  golden-brown 
glaze,  surface  sliced.     Ohi  (imp.).  1840 

Said  to  be  the  fifth  Ohi. 

1078— 1086.    Various  forms  of  Ohi.        1850-1875 


1830 


1073 


I07S 


1077 


KASUGAYAMA   (Case  10)       • 

An  exquisite  Raku  bowl,  with  blue  decoration,  is  believed  to  be  the  work  of  Ecchiuya 
Hyokichi,  and  to  have  been  decorated  by  Toda  Tokuyemon.  The  pottery  is  known  as 
Kasugayama,  from  the  name  of  the  village  in  which  it  was  made.  It  dates  from  the 
early  part  of  this  century. 

1087.  Bowl.    D.  4/5  in.     Soft  light  red  clay,  rich  light  red  Raku  glaze,  light  blue  leaves 
and  buds,  inside  and  out,  1820 

Gift  of  W.  S.  Bigelow. 

CHOJU   (Case  10) 

Pottery  differing  in  no  respect  from  typical  Ohi,  but  bearing  the  mark  of  Chqju,  is 
said  to  have  been  made  by  the  son  of  Kato  Chozayemon. 

1088.  Deep  bowl.     D.  jf  in.     Moulded  by  hand.     Dark  dull  yellow 
glaze.    Irregular  margin,  rough  surface.    Slightly  iridescent.    Choju  (imp.). 

Date  uncertain 


1088 


MASAKICHI   (Case  10) 

A  potter  named  Kato  Masakichi,  who  was  also  known  as  Gorin 
Ken,  made  pottery  in  the  middle  of  this  century,  using  the  impressed  mark  Masakichi. 
This  potter  died  in  1865. 


92  THE  CATALOGUE 

1089.    Box,  in  fonn  of  bivalve  shell.     L.  35  in.    Light  red  clay,  rich  thick  dark  honey 
glaze.     Chrysanthemums  moulded  in  high  relief  on  cover.    Yellow  centre, 
white  petals.     Masakichi  (imp.).  1850 

TAMAMOTO   (Case  10) 

An  unglazed  jar  with  basket  surface  bearing  the  impressed  mark 
Yamamoto  is  identical  with  a  specimen  in  the  Waggaman  collection 
which  has  green  Kutani  decoration.  The  object  is  probably  the  work 
of  Yoko  Yoshikadzu,  whose  family  name  was  Yamamoto.  Yok5  Soyetsu,  his  succes- 
sor, died  in  1829.  The  first  Yoko  died  in  1817.  Judging  by  the  appearance  of  the 
object,  this  jar  was  made  by  the  first  Yoko  in  Kanazawa. 

logo.     Covered  jar.     H.  5   in.      Four  looped  knobs  on  shoulder.      Light  grayish  clay, 
transparent  glaze  inside.     Outside,  unglazed  and  roughened  by  impressed  marks 
to  imitate  basket-work.     Yamamoto  (imp.).  1800 


ONO  (Case  10) 

A  potter  by  the  name  of  Rokuyemon  built  an  oven  in  the  village  of 


11 


1090 


Ono  in  1841,  and  signed  his  pieces  Ono  Zenroku. 
specimen  in  the  collection,  has  no  merit. 


The  work,  judging  from  a  single 


ZOgX.     Plate.     D.  7J  in.     Rim  with  four  scallops.     Light  fawn  clay  and  glaze, 
seven  treasures  in  red.     Inside,  fan-shaped  and  semi-circular  panels  containing 
flowers  and  figures,  etc.,  in  various  colors  touched  with  gold.     Ground,  with 
scrolls  in  green  outlined  in  black.     Ono  Zenroku  (imp.).  '  1841 

SHOREIDO  (Case  10) 

Pottery  bearing  this  mark  was  made  by  Uchimi  Kichizo,  whose  pseudo- 
nym was  Shoreido  Tozen. 


Outside, 


1091 


1092.     Bowl.     D.  5  in.     Light  fawn  clay,  light  grayish  glaze  with  pink  areas, 
inside  and  outside,  cord  and  bells  in  silver.     Plum  blossoms  in  red   lined 
with  silver.     Shoreido  no  in  (written  in  red).  1875 


Decoration, 


1092 


YEIRAKU   (Case  10) 

A  member  of  the  famous  Zengoros  of  Kyoto,  representing  the 
twelfth  generation  (Wagen),  left  Kyoto  in  1866  at  the  invitation  of  the 
Governor  of  Kaga,  and  established  an  oven  in  Yamashiro  village,  and 
for  a  few  years  made  pottery  and  porcelain  after  Kutani  models.  He  also  made  a  few 
tea-jars  and  bowls  after  his  own  taste.  With  the  exception  of  large  porcelain  bowls, 
gayly  decorated,  and  which,  curiously  enough,  Jacquemart  mentions  correctly  in  his 
work,  his  efforts  had  no  special  merit. 

1093'  Incense-burner.  H.  6f  in.  Lion-head  knobs,  and  lion  on  cover.  Hard  #^ 
light  clay.  Decoration  of  formal  panels  with  birds,  scrolls,  etc.,  in  clear  blue.  Be-  Jfcj^ 
low,  waves  and  clouds  in  blue.    Kutani  (written).  1867      1093 


CASE    10 


iOSX 


(owtr 


IO(T 


I  "S3 


iOZ2. 


(Of't 


lUlO    1033  1027      JU&Z 


1031 


^ 


ii: 


10X7 


I06>| 


"Ol3  JOZl       I01'»    loiy        lOI'fA        lOiSB 


lOfiV 


1018      luia  lusu    J02.0        'Odi 


7C_J072 


1083  ef3J  ,        ■-_  )p   ,,, 


lOfaS 


1077 
101% 


1071     IU8I       1(^10       IU68       1067 


IOl5 


1006 


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I0S7      layg 


V — A-x. 


10X6 


1013 


1003 
H>q6    ,      1(02. 


'0^3 


^Wa  ^^  V-iS^/    ^^ 


io<JS         1(00 


lOS't         1013 


PROVINCE  OF  KAGA 


» 


PROVINCE   OF  KAGA 


93 


%|^»t^«aj^ 


1094 


1095 


Yet  and  Kutani  over- 


1094.  Plate.  D.  4^%  in.  Typical  red  Kutani  decoration.  Yeiraku  (imp.).  Kutani  (writ- 
ten). 1867 

1095.  Large  bowl.  D.  7^^  in. 
Porcelain  clay  and  white  glaze. 
Decoration  of  flowers  and  birds  in 
green,  red,  brown,  and  gold  freely 
sketched.  About  rim,  inside,  dia- 
per of  circles  in  red,  green,  and  gold.  On  bottom,  inside,  mythological  bird  and  clouds 
in  blue.  Base  roughly  sanded.  Kutani  ni  oite  Yeiraku  tsukuru  (written  in  black  and 
green).  1867 

1096.  Oblong  tray.     L.  7  J  in.     Typical  green  Kutani  decoration, 
lapping  (imp.).  1867 

1097-  Tea-jar,  pottery  cover.  H.  3^  in.  Light  fawn  clay, 
light  fawn  glaze  mottled  with  areas  of  lighter  glaze  running. 
Yeiraku  (imp.).  1867 

1098.  Wine-bottle.  H.  6J  in.  Thin  walls,  yellowish  clay 
and  glaze.  Plum  blossoms  in  white  slip,  branches  dark  brown, 
leaves  green  touched  with  gold.      Yeiraku  (imp.).  1867 

I099-  Bowl.  D.  4f  in.  Yellowish-white  clay  and  glaze.  Light  brown  and  fawn  over- 
glaze  running.  Outside,  two  characters  in  white  slip,  also  character  in  black  with  red 
kakihan.     Yeiraku  (imp.).  1867 

1100.  Tea-bowl.     D.  4I  in.     Dull  fawn  clay,  light  brown  glaze  mottled.      Yeiraku  (imp.). 

1867 

1101.  Jar.  H.  7 J  in.  Section  of  bamboo,  cover  with  section  of  bamboo  for  handle. 
Very  light  gray  clay,  thick  Japanese  yellow  glaze.  Over-decoration,  bamboo,  plum,  and  pine 
in  green  and  blue  enamels  and  gold  with  red  flowers.    Yeiraku  (imp.).     1867 

1 102.  Bowl.  D.  6 J  in.  Hard  white  clay  and  porcelain  glaze.  Over- 
decoration  of  children  at  play,  and  pine,  bamboo,  etc.,  in  green,  yellow,  and 
black  outlined  in  gold  on  clouded  red  ground.  Inside,  on  bottom,  lion  in 
blue.  Around  inside,  scrolls  and  flowers  in  light  green  and  yellow  outlined 
in  gold  on  clouded  red  ground.     Base  sanded.     Kisaki  (imp.).  _  1867 

This  bowl  is  placed  provisionally  under  the  work  of  Yeiraku. 


MOKUBEI  (Case  10) 

In  1 807  the  famous  potter  Mokubei  visited  Kaga,  and  remained  in  that  province 
three  years.  It  is  possible  that  some  of  the  Kaga  porcelain  of  that  period  may  have 
been  made  by  him.  A  tea-pot  in  the  collection  is  characteristic  of  Mokubei's  work. 
The  clay  is  identical  with  Kaga,  and  the  impressed  mark  Kinju  is  said  to  be 
a  mark  used  by  Mokubei  at  that  time. 

1103.     Tea-pot.     D.  3J  in.     Moulded.     Flowers  and  fret  in  high  relief.     Thick 

dull  greenish  glaze.    Kinju  (imp.).  1807        1103 


^ 

M 


94  THE   CATALOGUE 

II04.     Incense-box  (Hotei).    W.    if  in.     Hard  gray-drab  stone  clay,  greenish  celadon 
glaze,  face  unglazed.     Kutani  (imp.)  minute  mark.  1807 

SHOTEI    (Case  10) 

A  bowl  roughly  made  and  decorated  in  red  Kutani  style  bears  the  signature  of 
Shotei,  and  is  believed  to  be  the  work  of  a  pupil  of  Shokado. 

II05-  Bowl.  D.  5^  in.  Light  fawn  clay,  dull  red  glaze.  Over-decoration 
of  flowers  and  scrolls  in  yellow,  green,  and  transparent  glaze  shaded  with  black. 
Flowers,  scrolls,  and  dragons  inside  and  out.  Inside,  on  bottom,  circular  area 
of  white  glaze  strongly  crackled,  with  blue  decoration.     Shotei  (imp.).  1840  1 105 


PROVINCE   OF    ISE 

The  modern  pottery  of  Ise  is  known  throughout  the  world  under  the 
common  name  of  Banko,  and  the  objects  are  almost  invariably  signed  with 
the  impressed  mark  of  Banko.  The  product  is  usually  in  the  form  of  tea- 
pots, little  flower-vases,  and  the  like,  either  modeled  by  hand  or  moulded ; 
the  walls  delicate,  with  twigs  modeled  in  relief,  or  flowers  in  a  few  vitrifiable 
enamels  on  an  unglazed  surface,  or  the  body  may  be  made  of  different 
colored  clays.  The  foreign  taste  has  been  captivated  by  the  novelty  of  this 
pottery  and  its  cheapness.  Ninagawa  says  this  modern  work  for  export 
was  not  made  until  after  1868.  By  the  material  thrown  on  the  market 
to-day  no  one  can  have  the  least  idea  of  the  remarkable  pottery  made  in 
this  province  in  past  times.  There  was  hardly  any  method  or  style  that  the 
Ise  potters  could  not  successfully  imitate ;  and  if  the  pottery  of  this  province 
alone  survived,  a  fair  idea  of  the  pottery  of  Japan  would  be  given. 

ANTO  (Case  11  and  Plate  VI.  1108) 

According  to  Ninagawa,  a  brother  of  Numanami  (see  Banko)  made  pottery  in 
Tsu  in  the  first  half  of  the  last  century,  using  the  mark  Anto.  Other  authorities 
date  the  origin  of  Anto  a  hundred  years  earlier.  The  testimony  is  conflicting.  While 
Anto  lacks  the  delicacy  and  refinement  of  old  Banko  it  is  certainly  more  vigorous  in 
manipulation  and  more  spirited  in  decoration  than  the  early  Banko.  From  the  appear- 
ance of  many  of  the  specimens  I  am  inclined  to  believe  that  it  goes  back  to  the  early 
part  of  the  eighteenth  century.  After  many  years  the  work  ceased,  to  be  revived 
again  in  1830  (see  Akogi).  The  work  excels  in  its  originality,  diversity,  and  beauty 
all  other  pottery  made  in  Ise.  The  potters  and  decorators  were  skilful  artists,  but 
since  that  time  their  work,  with  the  exception  of  that  of  Yusetsu,  has  declined  in 
character. 


PROVINCE   OF  ISE 


95 


1106.  Square  wine-bottle.  H.  6J  in.  Fine  fawn  clay,  dull  smooth  yellowish  glaze. 
Neck  with  thick  blue  glaze.     Over-decoration  of  landscape  in  brown.     Unsigned.  1720 

1107.  Oviform  wine-bottle,  with  short  neck.  H.  5^  in.  Fine  light  clay,  green  glaze 
crackled.  Neck,  Awata  glaze,  upon  which  is  over-decoration,  in  red,  of  waves,  scrolls,  fret, 
etc.     .4«/^(imp.).  1740 

1108.  Large  plate,  irregular  in  shape.     D.  io|  in.     Strongly  turned.     Coarse  brown  clay, 
unglazed.     Inside,  flowers  and  leaves  of  cockscomb  {Celosia  cristata)  in  thick  white     ^jtj. 
slip  glazed  with  green,  red,  and  yellow.     Poem  in  white  slip.     Antb  (imp.).  1740     jil 

1 109.  Shallow  bowl,  rim  slightly  scalloped.     D.  8 J  in.     Soft  light  brown  clay,     ^5' 
thick  light  fawn  glaze.     Inside,  spray  of  bamboo  in  thick  light  blue,  and  seal  in  red. 
Outside,  band  of  circles  and  wave-marks  in  blue.     .<^«/J  (imp.).  1740 

1 1 10.  Deep  cup,  with  flanged  rim,  flaring.  D.  3I  in.  Light  reddish  clay,  thick  greenish- 
yellow  glaze  crackled.     Anto  {xva.^^.  1740 

1111.  Deep  cup,  strong  basal  ring.  D.  31^  in.  Light  brown  clay,  light  fawn  glaze, 
deeply  crackled.     Poppy  in  green  and  red  overglaze  decoration.     Anto  (imp.).  1740 

1112.  FiRE-VESSEL.  D.  \\%  in.  Fine  light  fawn  clay,  rich  green  glaze.  Half  circular 
panel  from  rim  with  chrysanthemum  in  white  enamel.    Leaves  yellowish.    Anto  (imp.).    1740 

1 1 13.  Wine-bottle.  H.  6§  in.  Dark  brown  clay,  unglazed.  Mythological  bird,  flowers, 
and  rock  in  green,  blue,  yellow,  and  red,  thickly  applied.     ^«/J(imp.).  1740 

III4-     Hanging  flower-holder,  cylindrical.     H.  5I  in.     Roughly  turned.     Coarse      O 
brown  clay,  unglazed,  dash  of  thick  gray  glaze  on  side.     Anto  (imp.).  1740      "^ 

1115.  Wine-bottle.    H.  4^  in.    Grayish-white  glaze,  strongly  crackled  and  stained.     '"3 
Over-decoration  of  flowers  and  bird  in  green  and  light  purple  enamel,  shaded  with  black. 
Anto  (imp.).  1740 

1116.  Brush-rest  (three  geese).  L.  3f  in.  Light  fawn  clay,  light  greenish  glaze. 
.(4«/<J  (imp.).                                                                                                                  1780 

1 1 17.  Square  cup.      H.  4  in.      Light  gray  clay,  thick  light  gray  glaze,  deeply 
crackled,  with  brownish  overglaze  running  in  long  streams.     Anto  (imp.).  1850 

1 1 18*.     Cake-plate. 

1 1 19 

Ilig.     Cake-plate,     D.  6 J  in.     Two  deep  flexures  on  rim.     Dull  light  reddish- 
brown  clay  with  transparent  glaze  below.      Inside,  on  unglazed  portion,  roses  and  leaves 
in  green,  light  blue,  light  rose,  and  yellow  outlined  with  black,  thickly  applied. 
Anto  (imp.).  1850 

II20*.     Plate.     D.  12  in.     Anto  (imp.). 

1120 

AKOGI  (Case  ii) 

This  pottery,  made  within  recent  years,  is  said  to  have  been  an  attempt  to  revive 
the  Anto  pottery.     It,  however,  bears  no  resemblance  to  the  early  Anto, 
and  possesses  none  of  its  merits.     Over  a  hundred  years  ago  pottery  was 
made  in  Akogi,  bearing  the  mark  of  Banko. 

II2I.     Basin.     D.  6|  in.     Fine  fawn  clay  with  reddish  tinge,  thick  dull  olive- 
colored  glaze  with  grapevine  in  blue.    Banko  (imp.).  1780 


96  THE   CATALOGUE 

1122.  Fire-vessel,  jar-shaped.  H.  7  in.  Coarse  grayish  clay,  dull  brown  surface,  very 
rough,  unglazed.  Plum  blossom  and  bird  in  white  slip,  glazed  green,  brown,  and  black,  with 
touches  of  red.    Akogi  (imp.).  1850 

1123.  Bowl.  D.  3J  in.  Light  yellowish  clay,  glistening  light  gray  glaze.  New  Year's 
decoration  in  brown.    Akogi  (imp.). 

1 124.  Cake-bowl,  rim  scalloped.  D.  6 J  in.  Light  fawn  clay,  light  gray  glaze. 
Inside,  flowers  and  leaves  in  pink,  green,  blue,  and  red,  thickly  applied.  Outside, 
rough  sketch  of  bamboo  in  red.    Akogi  (imp.).  1870 

1124 
SAHEI   (Case  11) 

Two  specimens  in  the  collection  bearing  the  impressed  mark  of  Sahei  were  identi- 
fied by  skilful  judges  in  Japan  as  having  been  made  in  Ise.  Ninagawa,  in  manuscript 
notes,  states  that  the  fourth  Raku  (see  Yamashiro)  was  commonly  called  Sahei,  and 
at  one  time  made  pottery  in  Ise.  From  other  sources  I  have  derived  additional  testi- 
mony to  that  effect.  The  two  pieces  bear  evidence  of  age,  and  are  made  after  Kyoto 
style.  Mokubei,  of  Kyoto,  was  also  called  Sahei,  but  the  pieces  are  far  older  than 
Mokubei's  time,  and  there  is  no  record  of  his  having  used  this  mark. 

1 125.  Incense-burner.  H.  2^  in.  Globular  body  with  hollow  walls  with  circular  perfora- 
tion. Rim  flaring  and  scalloped.  Fine  light  fawn  clay,  thick  white  glaze.  Flowers  in  bluish- 
gray.     Sahei  (imp.).  1640 

1126.  Handled  cake-dish.  D.  5I  in.  Brownish-red  clay,  thick  white  glaze,  over  decora- 
tion of  sinuous  line  with  vertical  lines  pendant  in  blue.     Sahei  (imp.).  1640 

BANKO   (Case  II  and  Plate  VI.  1127,  1x34,  1138,  1139,  1142) 

Great  diversity  of  opinion  is  found  in  the  various  records  published  and  in 
manuscripts  in  regard  to  the  origin  and  the  history  of  the  pottery  bearing  the 
mark  of  Banko.  A  general  agreement  seems  to  give  the  credit  of  the  first 
making  of  Banko  to  Numanami,  surnamed  Gozayemon,  who  was  a  man  of  wealth, 
lived  in  Kuwana,  studied  flower  arrangement,  and  finally  began  to  experiment  with  the 
making  of  pottery.  He  is  said  to  have  served  an  apprenticeship  .with  Kenzan,  in 
Kyoto,  and  if  this  is  a  fact  we  get  a  clue  to  the  date  of  Numanami's  work,  as  Kenzan 
died  in  1743.  His  skill  soon  attracted  notice,  and  the  attention  of  the  Shogun  being 
called  to  him,  he  was  invited  to  Yedo,  where  he  erected  a  furnace  in  Kommemura. 
His  first  work  was  made  with  clay  and  glazing  materials  imported  from  China.  He 
died  in  the  latter  years  of  the  last  century.  One  of  his  sons  worked  with  him  for  a 
while,  but  a  servant  continued  the  pottery  for  some  time  after  the  master's  death. 
Three  specimens  figured  by  Ninagawa  are  supposed  to  have  been  the  work  of 
Numanami  in  Yedo,  and  hence  called  Yedo  Banko.  As  there  is  no  absolute  evidence 
of  the  origin  of  the  specimens  they  are  here  classified  with  other  objects  bearing  the 
mark  of  Banko.  The  round  stamp  has  also  been  considered  as  indicating  Yedo 
Banko,  but  that  mark,  varying  in  character,  has  been  used  wathin  recent  years. 

It  would  seem  that  many  potters  in  Kuwana,  Yokka-ichi,  and  other  places  used  the 


PROVINCE    OF  ISE 


97 


common  mark  Banko,  and  the  relative  age  of  this  work  can  only  be  judged  in  the 
usual  way.  Of  these  marks  there  is  a  great  variety  in  form,  size,  and  style  of  writing 
the  characters.  With  the  exception  of  Fueki  and  Nihon  Yusetsu  it  is  not  usual  to 
see  other  names  associated  with  this  mark.  In  1 878  there  were  twenty-one  different 
potters  of  Ise  represented  in  the  Paris  Exposition.  There  is  no  mark  under  which  a 
greater  variety  of  pottery  is  found  than  that  of  Banko.  This  statement  does  not  refer 
to  the  variety  of  form  or  decoration,  but  to  leading  types  of  pottery,  such  as  Karatsu, 
certain  varieties  of  Satsuma,  Shino,  Ki  Seto,  Raku,  Koda,  and  others.  A  study  of  the 
pottery  shows  that  the  oldest  forms  bear  the  mark  without  the  oval  border.  Banko, 
then,  not  only  runs  over  a  period  of  perhaps  a  hundred  and  fifty  years,  but  must  have 
been  made  by  many  potters  in  many  places.  There  is  apparently  no  way  of  tracing 
the  origin  of  the  various  pieces,  and  so  they  are  reluctantly  included  under  one  name. 

II27<     Cake-dish,  in  shape  of  folded  fan.     L.  i2|  in.     Light  brown  clay,  warm  light  brown 
glaze.     Ribs  of  fan  and  edge  of  vessel  thick  light  blue  glaze. 
Inside,  armor  disks  in  white.     Banko  {mvp.).  17^0      1    .^ 

This  specimen  is  probably  Yedo  Banko. 

II30'     Incense-box  (bird).     L.  2|  in.     Light  Raku  clay,  thick 
dark  orange-yellow  glaze.     Banko  (imp.).  1 790 


1127 


1131 


1131*.  Hanging  flower-vask  (jar-shaped).  H.  4J  in.  Rough  brownish  clay  resembling 
Tokoname.  On  upper  portion,  thin  transparent  glaze  with  splashes  of  greenish  -  fawn. 
Roughly  potted.    Banko  (imp.).  1790 

1 133.     Cake-dish,  rim  scalloped.     D.  6 J  in.     Light  fawn   clay,   heavy  rich  green  glaze. 
Inside,  flowers  and  leaves  deeply  incised  with  yellow,  purple, 
light  green,  and  white  glaze.     Banko  (imp.).  1810 

1 134-  Jar-  !!•  3f  in-  Hard  light  gray  clay,  surface 
roughened  by  cloth  impression ;  glistening  golden-brown 
glaze,  body  indented.  Cloth-mark  impression  on  bottom. 
Banko  (imp.).  1830 

Type  Ninagawa.     Part  V.,  Fig.  22. 

II35'     Jar-     H-  6i  in.     Thin  walls.      Looped  handles.      Deep  reddish-brown  clay  with 
white  granules.     Transparent   underglaze ;    yellowish-olive   overglaze  with 
splashes  of  deep  greenish-olive,  running.     Wood  graining  slightly  showing 
in    clay.       Inside,   circular    wave -mark    impression    after   Korean    style. 
Banko  (imp.).  1830 


1 136*.     Flower-vase.     Banko  (imp.).     Koyuno  motomeni  djite.     Kore  wo 
tsukuru  (inc.).  1830 

Gift  of  Miss  Lucy  Ellis. 


H3S 


II37-     Bowl,  uneven.     D.  4J  in.     Soft  light  reddish  clay,  glistening  white  glaze  strongly 

crackled,  figures  in  blue.      *  1730 

This  piece  was  identified  by  Mr.  Hayashi  as  having  been  made  by  Namimura  Groroyemon. 


j98  THE   CATALOGUE 

The  following  have  the  mark  Banko  without  oval  panel. 

1 138.  Bowl.  D.  5-i\  in.  Solid  and  heavy.  Hard  fine  gray  clay,  thick  light  grayish  glaze. 
Outside,  crane  rudely  incised;  small  turtle  in  relief.     Banko  (imp.).  1780 

Would  be  mistaken  for  Shino  were  it  not  for  the  mark. 

1 139-  Beaker.  D.  3 J  in.  Fine  fawn  clay  and  glaze,  mythological  bird  and  flowers  deeply 
incised ;  without  crackle.     Banko  {^m^^.  1790 

Type  Ninagawa.     Part  V.,  Fig.  20. 

1140.  Flower-vase,  sides  flattened.     H.  9J  in.     Panels  on  four  sides  with  Awata 
glaze,  upon  which  are  flowers  with  various  colored  enamels.     Around  neck  band  of 
jewels  and  scrolls  in  red.     Remaining  portion  of  vase  light  green  glaze,  moulded  but-       (b 
terflies  and  flowers  stuck  on  with  lacquer.     ^a«^o  (imp.).  1790      "''° 

Type  Ninagawa.     Part  V.,  Fig.  19. 

1141.  Wine-bottle.  H.  g^in.  Chocolate-brown  clay,  fawn  glaze.  Around  shoulder,  broad 
band  of  light  crackled  glaze  with  flowers  in  various  colored  enamels.     Banko  (imp.). 

1790 

1 142.  Incense-box  (bird).     L.  3-^  in.     Coarse  soft  light  clay.     Inside,  thick  white  Raku 
glaze.     Outside,  yellow  glaze ;  wings  and  tail  rich  light  green  glaze  flecked  with  dark 
green.     Banko  (imp.).  1800     /»| 

Type  Ninagawa.     Part  V.,  Fig.  21.  y^ 

1143.  Bowl.  "42 
Gift  of  W.  S.  Bigelow. 

1 144-     Large  bowl.     D.  6 J  in.     Scalloped  rim,  circular  perforations  at  junction  of  scallops. 

Fine  fawn  clay,  rich  green  glaze,  with  areas  of  thick  bluish-green  overglaze.     Banko  (imp.). 

A  remarkable  example.  1800 

II45'  Covered  vessel,  with  notch  in  rim.  H.  2|  in.  Fine  fawn  clay,  Awata  glaze ;  over- 
glaze  decoration  of  mythological  bird  in  various  colors.  Cover  with  conventional  leaves 
and  flowers  in  various  colors.     Banko  (imp.).  1800 

1 146.     Bowl,  similar  clay,  glaze,  and  decoration  to  last. 

1 147-  Plate,  rim  turned  up  in  two  places.  D.  9 J  in.  Fawn  clay,  thick  fawn  glaze,  and 
large  area  of  lighter  overglaze.  Inside,  over-decoration  of  Chinese  figure,  fence,  rocks,  trees, 
etc,  in  various  colored  enamels  and  red  with  black  shading.  Outside,  lattice  in  brown. 
Banko  (imp.).  1780 

II50.  Haisen.  H.  7I  in.  Light  reddish  fawn  clay  and  glaze.  Decoration  of  dragon, 
clouds,  jewel,  and  waves,  in  white  glaze  outlined  in  blue  and  brown.  Inside,  thick  white 
glaze  coarsely  crackled.     Unsigned.  1820 

II5I-  Food-vessel,  with  incurving  rim.  D.  13I  in.  Identical  to  last  in  clay,  glaze,  and 
color  of  decoration.    Inside,  decoration  of  nearly  one  hundred  Chinese  boys.    Unsigned.     1820 

These  two  examples,  without  signatures,  have  been  recognized  as  Banko  by  the  best 
Japanese  exjjerts.  They  are  made  and  decorated  by  the  same  hand,  and  are  of  extreme 
rarity. 


PROVINCE   OF  ISE 


99 


"57 


!»| 


1 162 


1 163 


II64 


1 166 


II52~^^57'  Brush-holder,  plate,  wine-bottle,  incense- 
box,  BOWL,  and  tea-jar.     All  signed  Banko.  1820-1830. 

II58-I161*.     All  signed  Banko. 

1 162.     Square  incense-box.     Banko  (imp.). 

I163— 1166.     Deep  cup,   cover-rest,  flower-holder,   and 

BOX.     All  with  light  bluish  glaze.     Banko  (imp.).  1840 

1167.  Cylindrical  flower-vase.  H.  lof  in.  Fawn  clay 
with  reddish  tinge,  rich  bluish-green  glaze,  entire  surface  cov- 
ered with  formal  waves  deeply  incised.     Unsigned.  1840 

1168.  Flower-vase,  elephant  handles.  H.  i2|  in.  Hard  gray  stone  clay,  rich  bluish- 
green  glaze.  Formal  flowers,  leaves,  and  scrolls  moulded  in  high  relief  and  applied.  Un- 
signed. 1840 

1 169.  Wine-bottle.  H.  5}  in.  Brownish  clay,  warm  olive-brown  glaze,  under-decoration 
of  circles,  basket-lines,  etc.,  in  deep  brown.     Banko  (imp.).  1840 

1 170.  Water-jar.  H.  6  in.  Dark  fawn  clay,  light  fawn  glaze,  under-decoration  of 
dragons  in  scalloped  panels,  and  cross-lines  filling  remaining  surface,  all  in  deep  brown, 
roughly  sketched.     Banko  (imp.).  1840 

II7I'  Box,  moulded  in  form  of  plum  blossom.  D.  4f  in.  Light  fawn  clay,  light  purplish 
glaze.     Banko  (imp.).  1840 

II72.  Oval  dish.  L.  4I  in.  Coarse  light  fawn  clay,  white  Shino  glaze,  splash  of  thick 
green  overglaze  on  one  side,  crests  in  brown.     Banko  (imp.).  1840 


1190 


II73-II94*.     All  signed  Banko. 


YUSETSU   (Case  11  and  Plate  VI.  1208) 

The  marks  Yitsetsti,  YUsetsu  Banko,  and  Banko  Yusetsu  are  found  on  pottery  first 
made  by  Yogozayemon  Mori,  in  Komai  village,  in  1835.  He  was  know^n  by  the 
pseudonym  of  Yusetsu.  His  father  was  a  dealer  in  waste  paper,  and  in  his  stock  he 
discovered  documents  giving  the  formulae  of  the  glazing  materials  and  other  memo- 
randa of  the  famous  Numanami.  Yusetsu  being  a  potter  by  profession,  advantage  was 
taken  of  this  fortunate  discovery  to  improve  his  art.  Securing  permission  from 
Numanami's  grandson  to  use  the  mark  Banko,  his  early  work  was  signed  with  that 
character.  His  pieces  are  all  in  good  taste,  showing  great  fertility  in  design,  execu- 
tion, and  decoration.  To  Yusetsu  is  given  the  credit  of  first  making  interior  moulds 
m  radial  segments  upon  which  tea-pots  were  moulded.  He  was,  however,  antedated 
in  this  process  by  Mokubei.  A  descendant  of  Yusetsu  was  at  work  in  Obuke,  near 
Kuwana,  within  recent  years,  continuing  the  work  of  the  family  and  using  similar 
marks. 


THE   CATALOGUE 


Inside,  mythological 


^^95-     Haisen.     L.  6J  in.    Moulded.    Thick  and  heavy.    Fine  fawn  clay,  light  gray  under- 
glaze,  thick  green  overglaze  running  over  inside.     Clouds  in  high 
relief.      Yusetsu  (imp.).  1835 

Iig6.  Bottle.  H.  5J  in.  Moulded.  With  four  looped  handles. 
Light  reddish  clay,  white  underglaze,  dark  brown  overglaze  forming 
golden-brown  areas.  Circular  panels,  stars,  fret,  etc.,  in  high  relief. 
Nihon  Yusetsu  (imp.).  1840 

1197.     Beaker.     D.  i\  in,  1840 

Zig8.    Wine-cup.     D.  4}  in.    Fine  chocolate-brown  clay,  unglazed. 
turtle  in  green  enamel.     Outside,  bamboo  and  plum  blossom  in  pink, 
white,  green,  and  yellow  enamels.      Yusetsu  (imp.).  1845 

A  beautiful  piece  of  work. 

1201.  Incense-burner.  H.  6J  in.  Supported  on  three  legs  in  form 
of  Chinese  boys.  Around  body  three  animal's  heads  holding  loose 
rings.      Cover  with   mythological  lion   for  knob.     Walls   exceedingly 

thin.     All  parts  moulded.     Fine  light  gray  clay,  thin  light  yellow  glaze  stained  with  black. 
Nihon  Yusetsu  (imp.).  1850 

1202.  Same  as  last.    Banko  and  Nihon  YHsetsu  (imp.).  1850 

X203>     Flower-holder.     H.  6|  in.     Coarse  basket-work  carved  in   high  relief.     Cicada 
modeled  in  high  relief  and  applied.     Light  reddish-fawn  clay  and   glaze  with 
greenish  areas.     Banko  and  Nihon  Yusetsu  (imp.).  1850 

1204*.    Group  of  figures,  with  low  jar.    L.  4^  in.     Similar  to  last  in  clay  and 
glaze.     Unsigned.  1850 

Gift  of  W.  S.  Bigelow. 

1205.  Tea-jar.    H.  2|in.    Light  fawn  clay,  thick  yellow  glaze.    Fwi-rfjw  (imp.). 

1850 

1206.  Covered  jar.     H.  i\  in.     Deep  reddish  clay,  thick  gray  glaze,  closely 
covered  with  vertical  interrupted  bead-like  lines  in  white  Mishima.      YHsetsu  (imp.). 

1207.  Beaker.     D.   4J   in.     Reddish-brown  clay,   thin   gray  glaze.     Band  of 
vertical  scallop  lines  in  white  Mishima.     Banko  and  YHsetsu  (imp.).      1850 

1208.  Deep  bowl.  D.  5I  in.  Light  reddish-brown  clay,  thick  light  olive- 
brown  glaze,  dull  lustre.  Below,  band  of  circles  in  relief  inclosing  Chinese 
characters  for  happiness  and  longevity.  On  sides,  vertical  and  horizontal 
lines  cut.      YOsetsu  (imp.).  1850 

A  notable  piece. 

1209.  I2I0.    Cake-dishes. 

121 1.  Fire-bowl.      H.  3 J  in.     Light  yellowish-white  clay,  bright  green   glaze 
side  imperial  badge  of  Japan  in  white  enamel. 
Banko  Yusetsu  (imp.).  i860 

1212.  Tea-pot,  moulded  in  form  of  lotus  leaf.  D.  2f  in. 
Fine  light  fawn  clay,  thin  greenish  glaze  above.  Characters 
in  white  enamel.     Sosho  and  Nihon  YOsetsu  (imp.).  i860 


1203 

1850 
stars   and 


1207 


1208 


On  one 


^ 


PROVINCE   OF  ISE 


lOI 


I2I3-     Teacloth-holder.     H.  2|  in.     Light  yellowish  clay, 
dragon  outlined  in  darker  pink.    Rim,  brown  glaze.    Inside, 
light  green  glaze.    All  Chinese  colors.    Yitsetsu  {vcw^^     i860 

1214.  Incense-burner.  H.  yf  in.  Fine  fawn  clay, 
light  yellow  glaze  minutely  crackled.  Decoration  moulded 
and  applied,  also  impressed  and  perforated. 

Keien  set  in  (imp.)  i860 

1215.  Plate.     D.  4J  in.     Banko  Senshu  (imp.). 


Outside,  rich  pink  glaze  with 


1213 


1214 


121S 


FUEKI   BANKO   (Case  11  and  Plate  VI.  1221) 

This  name  was  used  as  a  mark  on  pottery  by  a  brother  of  Yusetsu,  whose  com- 
mon name  was  Yohei,  but  who  adopted  the  name  Fueki  for  his  work.  Ninagawa 
says  that  the  mark  Banko  Fueki  was  one  of  those  used  by  Numanami.  With  one 
doubtful  exception,  however,  I  have  never  seen  this  mark  on  pottery  of  sufficient  age 
to  warrant  the  statement.  If  such  should  prove  to  be  the  fact,  then  it  is  possible  that 
a  potter  by  the  name  of  Sato,  of  Nagashima,  made  the  pieces  signed  Banko  Fueki. 
Records  show  that  in  185 1  Takagawa  Chikusai  (see  Isaw a)  presented  the  original 
marks  of  Numanami  to  Sato,  who  began  to  make  what  he  supposed  were  imitations  of 
Numanami's  work.  He  furthermore  assumed  to  be  in  the  direct  line  of  Numanami. 
Among  these  marks  supposed  to  have  been  used  by  Numanami  was  the  round  mark 
of  Banko.  In  Part  V.  of  his  work  Ninagawa  figures  a  piece  (see  this  Catalogue,  1 1 34) 
said  to  have  been  made  by  Yusetsu,  yet  bearing  this  round  mark.  It  is  all  very 
confusing. 

I216.     Flower-vase.    H.  9  in.     Coarse  gray  clay  containing  large  white  granules  which 
roughen  the  surface,  thin  transparent  glaze.     Banko  Fueki  (imp.).  1830 

I2I7>     Cake-dish.     D.  5J  in.      Rim  very  uneven.      Light  fawn   clay,  large   splashes   of 
rich   green   overglaze.      Outside,  diaper  work   in   brown   and   a   nelumbium  in  white  and 
brown.     Inside,  crest  in  white  and   brown.     Strong  cloth-mark   impression. 
Banko  Fueki  (imp.).  1840 

I218.  Large  water-vessel,  in  form  of  tea-pot.  H.  6J  in.  Bail  handle 
made  of  willow.  Thin  walls  strongly  turned.  Inside,  semicircular  marks  im- 
pressed. Fine  brown  clay,  light  brown  underglaze,  glistening  brown  overglaze. 
Banko  Fueki  (imp.).  1840 


1217 


I2ig.     Water-jar,  one  side  sliced   and   lapped.     H.    5I   in.     Fine   light  gray  clay,  cold 
light  gray  glaze.     Clouds,  bands,  etc.,  in  white  slip.     Banko  Fueki  (imp.).  1840 


1220.     Incense-box.    D.  2^  in. 
glaze.     Banko  Fueki  (imp.). 


Moulded.    Light  cream-colored  clay,  light  robin's-egg  blue 

1840 


I22I.     Incense-box.     D.  2|  in.     Moulded.     Light  pinkish  clay,  dull  purple 
glaze.     Rosette  and  three  ribs  in  high  relief  glazed  a  rich  lustrous  yellow. 
Inside,  rich  white  glaze.     Basal  ring  scalloped.     Banko  Fueki  (imp.).       1840 
A  remarkable  piece. 


tot 


THE  CATALOGUE 


1223 


Cover,  with 


Light  red  Raku  clay  and  glaze. 
1840 

Rough  surface, 
i860 


1222.     Circular  box,  with  cover.     D.  5^5  in.     Light  red  Raku  clay  and  glaze.    Nikon 
Banko  (imp.). 

1223*.      Box,   in  form  of  flat  squash.      D.  35  in. 
unglazed.     Inside  lacquered.     Nikon  Banko  (imp.). 

Xllt^.  Bowl.  D.  5  in.  Thick  and  heavy.  Light  gray  clay,  thin 
transparent  underglaze,  thick  greenish-gray  overglaze  deeply  punctured. 
Inside,  fret,  flowers,  etc.,  impressed.     Banko  Fueki  (imp.).  i860 

1225.     Covered  jar.     H.  6J  in.     Light  gray  clay,  light  greenish-blue  glaze, 
chrysanthemum  modeled  in  high  relief.    Flowers  moulded  and  applied 
on  sides.     Upper  portion  of  jar  made  separately,  with  uneven  scal- 
loped edge  joined  to  lower  portion.     Banko  Fueki  and  Banko  (imp.). 

1870 

NE-U   (Case  11) 

A  piece  obtained  from  Ninagawa  many  years  ago  was  accred- 
ited to  Ne-u,  Ise.  It  has  painted  upon  it  the  Tori-i  and  pines 
associated  with  the  celebrated  shrines  at  Ise.  It  was  evidently 
made  as  a  souvenir  of  the  place. 

I227>     Shallow  BOWL.    D.  4}  in.    Light  yellowish  clay,  thick  light  yellowish  glaze.   Inside, 
Tori-i,  pines,  and  mountain  in  green,  yellow,  and  brown.      Outside,  characters  in  red.      1780 

1228.  Same  as  last.     Decoration  much  more  rude  than  last.  1840 
This  piece  is  interesting  as  illustrating  the  deterioration  which  has  taken  place  since  the 

earlier  piece  was  made  and  decorated. 

TAMAGAKI   (Case  11) 

A  soft  pottery  with  yellow  glaze  and  brighter  yellow  decoration  was  made  in  the 
little  seaside  village  of  Tamagaki  in  the  early  part  of  the  century.  The  work  is 
extremely  rare. 

1229.  Deep  bowl.  D.  3I  in.  Light  yellowish  clay  and  glaze.  Over-decora- 
tion of  fret,  bands,  and  zigzag  lines  in  bright  yellow.  Black  spots  about  rim. 
Tamagaki  tsukuru  (imp.).  1820 


SETOSUKE   (Case  11) 

Ninagawa  learned  that  a  descendant  of  the  Echizen  Setosuke  (see 
Echizen)  came  to  Tokyo,  and  either  followed  the  potter's  craft  or  kept 
pottery  for  sale.  It  is  said  that  he  ordered  pottery  to  be  made  for  him 
by  Takahara,  of  Yokka-ichi,  Ise,  and  caused  the  work  to  be  signed  Setosuke. 
was  sold  by  him  in  Tokyo.  The  pottery  was  also  known  as  Takahara.  It 
had  nothing  to  commend  it. 


1229 


This 


1230.    Bowl.     D.  4^  in.    White  stone  clay  and  glaze. 


Setosuke  (imp.). 
i860 


^ 


1232.     Bowl.     D.  3I  in.    White  stone  clay  and  glaze,  splash  of  yellowish-      1230        1232 


PROVINCE  OF  ISE  103 

brown  overglaze  on  side,  also  characters  in  high  relief  colored  bluish  -  brown.  Setosuke 
(imp.).  i860 

ISAWA  (Case  11  and  Plate  VI.  1235) 

Takagawa  Chikusai,  of  Isawa,  claims  that  his  grandfather  worked  with  the  celebrated 
Numanami  Gozayemon,  and  not  only  derived  the  secrets  of  his  art  from  him,  but  came 
into  possession  of  his  original  stamps.  Takagawa  was  a  man  of  wealth,  and  connected 
with  his  villa  was  a  garden,  with  the  poetical  name  of  Sekitokuyen,  and  a  court-yard 
named  Unkin-an.  His  pottery  bore  the  mark  Isawa  and  also  the  name  of  his  gar- 
den or  his  court-yard.  These  latter  marks,  however,  are  very  rare.  If  it  is  true,  as 
stated,  that  he  gave  the  original  marks  of  Banko,  including  the  round  mark,  to  the 
maker  of  Fueki  Banko,  then  he  must  have  given  the  mark  Sekitokuyen  also,  as  both 
these  marks  occur  on  the  same  piece.  The  preservation  of  old  marks,  or  revival  of 
them,  has  led  to  great  confusion  in  Banko  pottery,  and  the  unraveling  of  the  tangle 
is,  in  respect  to  Isawa  pottery,  hardly  worth  the  trouble. 

1233.  Flask-shaped  flower-vase.  H.  6^  in.  Fine  light  brown  clay,  warm  light  gray 
glaze.     Cranes  in  white  Mishima.     Isawa  (imp.).  18 10 

1234.  Globular  tea- jar.     H.  2J  in.     Fine  light  gray  clay,  purplish-brown 
glaze.    Isawa  (imp.).  i8io 

1235.  Cake-bowl.     D.  6J  in.    Rim  scalloped.     Hard  fawn  clay,  rich  green 
glaze.   Imitation  of  green  Kaga  in  decoration  and  color.    Isawa  (imp.).     1810 

1236.  Wine-bottle,  sbc-sided.  D.  SJ  in.  Thick  and  heavy.  Panels  of  formal  scrolls 
moulded  in  high  relief.  Hard  light  stone  clay,  thick  cream-white  glaze,  resembling  Nagato. 
Isawa  (imp.).  1810 

1237.  Square  wine-bottle,  with  round  neck.  H.  9J  in.  Fine  fawn  clay,  light  brown 
underglaze,  white  overglaze  covering  half  the  bottle,  upon  which  are  designs  of  egg  plants 
and  butterflies  in  blue  and  brown.     Unsigned.  18 10 

1238.  Rest  for  cover,  similar  to  1233. 

1239.  Bowl.  D.  4J  in.  Light  brown  clay,  glossy  olive  glaze.  Flowers  and  poem  delicately 
incised  in  white  Mishima.    Banko  Fueki  xaA  Sekitokuyen  sei  iyca.^^.  1810 

1240*.  Cup-REST.  D.  a,\  in.  Reddish-brown  clay,  thick  olive-green  glaze. 
Flowers  strongly  incised  in  white  Mishima.     Banko  (imp.).  1810 

1241.  Large  SQUARE  BOTTLE.  H.  iijin.  Looped  handles  above,  short  nozzle 
in  corner.  Light  brown  clay,  thick  olive-green  glaze.  Below,  waves  and  dots  in 
white  Mishima.     Above,  white  slip  scratched  through.     Unsigned.  1810 

1242.  Haisen. 

KASUKE   (Case  11) 

In  1865  a  potter  by  the  name  of  Kasuke  made  Banko  pottery  modeled  by  hand. 
He  was  somewhat  noted  for  his  cigar-holders  in  the  form  of  lotus  calyx,  flower,  and 


1234      123s 


104  THE   CATALOGUE 

leaf.  Some  of  these  were  glazed.  Ninagawa  considered  a  specimen  of  his  work  of 
sufficient  importance  to  figure  and  describe.  Though  showing  considerable  skill  in 
modeling  the  work  is  not  specially  attractive.  Kasuke  exhibited  his  work  in  Paris  in 
1878. 

1244.     Cigar-holder,  in  form  of  lotus  calyx,  flower,  and  leaf.     H.  5  in.     Hard  reddish- 
brown  clay.     Calyx  unglazed,  leaf  thick  green  glaze,  flower  white  and  purple  glaze.     Un- 
signed. 1865 
Type  Ninagawa.     Part  V.,  Fig.  23. 

I245-     Same  as  last,  unglazed.    Banko  and  Hideno  (imp.).  1870      t7 ' 

1246*.     Similar  TO  LAST.     Meiji  AaM  nen  tsukuru  (^ac).  1876     ^ 

MORI    (Case  11)  "'*5 

During  1875-76  a  potter  by  the  name  of  Yogozayemon  Mori  made  a  light  earthen 
pottery  with  plain  yellow  glaze.     The  pieces  were  for  common  domestic  use. 

1247.  Shallow  bowl.  D.  4J  in.  Fine  yellowish-white  clay  and  glaze.  Inside,  obscure 
design  in  light  indigo.     Mori  (imp.).  1875 

HANSUKE    (Case  11)  ?^ 

A  potter  by  the  name  of  Hansuke  Ogawa,  of  Yokka-ichi,  was  at  work  in 
1879  making  the  most  dainty  tea-pots  entirely  with  his  hand. 

There  were  many  imitators  of  his  work,  but  none  attained  the  delicacy  of  manipu- 
lation, or  made  such  thin  walls  to  his  pieces,  as  Hansuke. 

1248.  Tea-pot.  D.  3^  in.  Light  fine  grayish  clay,  unglazed,  closely  covered  _,^  J»» 
with  inscriptions  outside.  Finger-marks  over  all.  Perforated  and  ring  in  jlj  <^it 
handle.     Revolving  knob  on  cover.     Hokusei  Ensosha  Shujin  set  {inc.).       1875         '        ^ 

1249*.     Tea-pot.     D.  2|  in.     Ensosha  Shisei  QlTic).  1875 


ASAHI-KEN   (Case  11) 


1248 


Tanakichi  Asahi-ken  made  pottery  in  the  village  of  Yamada  in  1879.        y 
His  work  was  a  weak  imitation  of  Koda.     The  marks  were  Banko,  im-     ^^^^^>» 
pressed,  or  Asahi-ken  tsukuru,  incised.     The  work  consisted  of  tea-pots,        "^ 
tea-cups,  etc. 

1250*.     Tea-cup.     D.   2^  in.     Fine  pale  brown  clay,  light  gray  glaze  coarsely  crackled. 
Storks  and  poem  in  white  Mishima.     Inside,  white  glaze  coarsely  crackled.  ^^^ 

Asahi-ken  tsukuru  (inc.).  1880  ftBA 

I25I*-     Tea-pot,  same  as  last.  ^^         ^^ 

ODD   FORMS   OF    BANKO   (Case  11)  if  ^ 

1252.     GouRD-SHAPED  FLOWER-VASE.    H.  'i\  in.      Brown  clay,  unglazed 
surface,  roughened,  slightly  blistered.    Gourd  vine  cut  on  surface.  12^0        12^ 

Banko  and  Shazan  tsukuru  (imp.).  1870 

Gift  of  Rufus  E.  Moore. 


UNIVERSITY 


CASE    11 


H67  IIS7  USf<<  iZ'i^  Il-fi-  II  yo 


IIZI  Ili-Z  1170  n6» 


Wb^l 


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11^6  •It,'*       116^       iZS^    il'tZ       ll4-y     Il!r6      in»       /I3?       »l*f3      II3S  ll*l«f  IZJ'Z 

» IJtO       » li*! 


iioq 


nofi 


tl'rS-        U'<«6  112.1         IIZ3 


II-Z9 


1113        (III 


1117    "'o  >ii6       iiiiT       iiiz 


1130    JJ^ 


»     ^,  fSS3I     tX2a.       lii?        1,37  1130    J  *• "  *■■> 


MX6         IIZV 


ns.6        '^g.^   "ga   ■'•g 


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IllS" 


n<i&       iZo>>      IZ03 
IZ37 


Wbl        IZOa    IZI3 


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IU8    m't    IZ33       '^'^^  '^^^  1236 


II3S'  1130 


IZZO    IZZI 


PROVINCE  OF  ISE 


PROVINCE    OF   YAMATO 


loS 


I253~I26o.  Tea-pots,  incense-burner,  flower-vase,  bowl,  etc.,  bearing  the  marks  of 
Nihon  Banko  Hori  Tomonao  tsukuru  (1253*),  Banko  and  Gando  [Sanjin  ?]  (1254),  Banko  and 
Seitoken  (1255*),  Banko  and  Mine  (1256*),  and  Baigetsu-ga  (1257*).  Nothing  is  known  about 
the  potters  who  made  these  objects,  and  the  pieces  are  not  on  exhibition. 


I: 
w 

1253 


^ 


■254 «) 


I2SS 


1256 


I2S7 


PROVINCE   OF   YAMATO 

This  province  has  within  its  limits  the  time-honored  town  of  Nara, 
famous  from  having  been  the  ancient  capital  of  Japan  and  the  residence 
of  a  long  line  of  emperors.  Within  its  borders  are  temples,  royal  tombs, 
and  precious  antiquities.  With  the  exception  of  Nara  there  are  but  few 
towns  of  any  size  or  importance  in  the  province,  and  the  sparsely  settled 
country  has  not  favored  the  growth  of  the  pottery  industry. 

NARA   (Case  12) 

Under  this  name  may  be  placed  a  little  tea-cup  said  to  have  been  made  in  Nara  in 
1730.     It  was  evidently  made  to  be  sold  as  a  souvenir  of  the  place. 

I261.  Tea-cup.  D.  2\  in.  Fine  reddish  clay,  dull  light  reddish  glaze,  thick  yellowish  over- 
glaze  around  rim.  Around  the  sides  the  following  characters  are  written  in  olive-green : 
Nara  Dai  Butsu  Ogane  (written).  1730 

AKAHADA   (Case  12) 

According  to  authorities,  pottery  was  made  in  Akahada  as  early  as  1624,  though 
the  site  of  the  oven  is  not  known.  (This  does  not  include  the  earlier  historic  pottery 
already  catalogued.)  In  1761  an  oven  was  started  by  potters  from  Kyoto,  and  in  the 
early  part  of  the  present  century  the  mark  Akahada  was  first  used.  In  Tokiko,  how- 
ever, it  is  stated  that  the  ovens  of  Akahada  were  reopened  in  1789,  and  the  old  marks 
were  used  in  signing  the  pieces.  The  earlier  marks  were  incised,  and  the  first  pottery 
made  might  easily  be  mistaken  for  Bizen.  The  first  impressed  mark  was  in  the  form 
of  a  symmetrical  double  gourd ;  later  an  asymmetrical  double  gourd  formed  the 
outline.     Successive  marks  of  the  same  form,  but  varying  in  outline  and  size,  were 


io6 


THE  CATALOGUE 


W.  If  in.     Dull  fine 


used.  From  the  great  variety  in  the  form  of  these  marks,  it  would  seem  that  each  indi- 
vidual potter  had  his  own  mark.  Other  signatures  occur,  but  there  are  no  records  at 
hand  in  regard  to  their  significance. 

1262.      Square  incense-box,  with  a  little  crab  modeled  on.  cover, 
gray  clay,  dull  light  brownish  glaze,  with  splashes  of 
yellowish-white  and  brown  overglaze.    Akahada  (inc.). 

1730 

I263>  Bowl.  D.  4f  in.  Light  reddish-brown  clay, 
dull  yellowish  glaze  with  vertical  bands  of  red,  blue, 
and  green  overglaze.  Cross-marks  in  brown  under- 
glaze.    Akahada  in  symmetrical  double  gourd  (imp.). 

1790 

I264>  Deep  dish,  hexagonally  compressed.  D.  7J  in. 
glaze.  Areas  of  square  impressions  and  of  incised 
Akahada,  in  asymmetrical  double  gourd  (imp.). 

1265.  Shallow  tea-bowl.     D.  5^  in.     Reddish-brown  clay, 
grayish-green  glaze.      Inside,  stars  and  dots   impressed,   and 
lines  incised  in  white  Mishima.     Outside,  broad  brush-mark  of  white  slip. 
Akahada  (imp.).  1820 

1266.  Bottle,  with  long  tapering  neck.  H.  11 J  in.  Brown  clay,  olive- 
brown  glaze.  On  neck,  thick  white  glaze  flecked  with  brown  running. 
Ornamental  design  incised  on  body.     Fret  in  square  impressions  on  basal 


Coarse  brown  clay  and  thin  brown 
lines. 
1800 


^ 


1820 


1266 


ring.    Akahada  and  Tsuna  and  mallow  leaf  (imp.). 

1267—1270.     Various  forms,  with  Akahada  impressed. 

1830 

I271.  Large  bowl.  D.  7  in.  Coarse  brown  clay,  areas  of 
light  brown,  light  green  and  white  glaze.  Spiral  line  in  blue 
inside.     Akahada  yama  (imp.).  1840 

1272—1275-     Various  forms,  with  Akahada  yama  impressed. 

1276.     Cover-rest  (?),  in  form  of  garden  stool.     H.  1/5  in.     Sides  perforated 
fawn  clay,  light  fawn  glaze.     Unsigned. 

I277~I28o.     Various  forms,  with  Akahada  and  Akahada  yama  impressed. 

I281.  Bowl,  rim  indented  with  small  knob  outside.  D.  5f  in. 
Fawn  clay,  thick  white  glaze  on  one  half,  and  rich  dark  brown 
glaze  on  the  other.     Akahada  (imp.).  1870 

Type  Ninagawa.     Part  IIL,  Fig.  19. 

1282— 1287-  Various  forms,  with  Akahada  and  Akahada  yama 
impressed.  1870-1876 

1288.     Flower-vase,  basket  decoration,  roughly  incised.    H.  13! 

in.     Large  swimming  crab  modeled  and  applied  on  side.     Light  red  clay,  light  grayish  glaze 

with  thick  white  overglaze.     Cloth  impression  on  base.     Unsigned.  1877 


1850 

Fine  light 
1856 

1860-1870 


PROVINCE   OF   YAMATO 


107 


1289— 1292.    Various  forms,  with  Akahada  impressed.  1880 

The  following  pieces  bear  the  impressed  mark  Ki,  usually  associated  with 
Akahada.     The  mark  may  be  the  furnace  sign  of  an  individual  potter  baking   ^/j^ 
with  others  in  a  common  oven.  1291 

1293.  Bowl.     D.  6f  in.     Light  fawn  clay,  underglaze  purple,  and  clouded  with  areas  of 
rich  green  glaze.     Akahada  and  Ki  (imp.).  1845 

1294.  Flower-holder  (.'),  in  form  of  pestle.  H.  ii|  in. 
Light  fawn  clay,  thick  cream-white  glaze.  Inside,  trans- 
parent glaze.     Ki  (imp.).  1850 


INOUYE   (Case  12) 

This  potter  may  be  properly  separated  from  Akahada, 
as  he  signed  his  work  with  his  name  as  well  as  the  mark 
Akahada. 


1293 


1294 


I295-     WiNE-BOTTLE.     H.  6J  in.     Coarse  light  fawn  clay,  thick  grayish-white  glaze  pitted. 
Akahada  and  Inouye  sei  (imp.).  i860 


MOKUHAKU   (Case  12)  '^95 

In  1850  Kashiwaya  Buhei,  of  Koriyama,  established  a  pottery  at  Akahada,  and 
signed  his  pieces  Mokuhaku,  associated  with  the  marks  Akahada  or  Akahada  yama. 
The  reasons  for  separating  this  work  from  Akahada  are  that  the  pottery  is  definitely 
known,  his  work  is  more  recent,  less  in  accordance  wi  th  Japanese  tastes,  and  some 
of  it  is  decidedly  bad. 

1296.  Deep  Raku  bowl.  D.  4  in.  Coarse  light  clay,  thick  lustrous  black  Raku  glaze. 
Equisetum  in  white  glaze  shaded  with  blue.  Mokuhaku,  written  in  blue  on  irregular  white 
panel,  inside.  i860 

I297-1299. 

above. 


Various     forms, 


marks    as 
i860 


1300.  Incense-box,  modeled  in  form  of  rat. 
L.  ij  in.  Fine  yellowish  -  white  clay,  thick 
creamy-white  glaze. 

Mokuhaku  and  Akahada  yama  (imp.).        1865 
A  fine  example  of  modeling. 


I3OI-I303. 

marks. 


Various    forms, 


with    same 
1865-1870 


^ 


1297 


1300 


1302 


1303 


1304-     Boat-shaped  dish.     L.  6|  in.     Fawn  clay,  transparent  underglaze,  thick  white  over- 
glaze.    Inside,  scrolls,  etc.,  in  blue,  coarsely  crackled.    Mokuhaku  and  Akahada  (imp.).     1870 
Unusual  form  of  glaze  and  decoration. 


to8 


THE   CATALOGUE 


1305*     Bowl.     D.   4^    in.     Fine   yellowish-white  clay   and   glaze.     Lobster  in   browa 
Mokuhaku  and  Akahada  yama  (written 
in  brown  on  side).  1870 

1306.  Bowl.  D.  4J  in.  Fine  yellow- 
ish-white clay  and  glaze.  Men  towing  a 
boat,  in  blue,  green,  and  black,  with  gold 
tinges.     Mokuhaku  and  Akahada  (imp.). 

1870 

This  bowl  is  interesting  as  being  the 

only  object  in  the   entire   collection    in 

which  a  design  has  been  directly  copied 

from  Hokusai. 

1307,  1308.     Bowl  and  pot  for  sweet  sake,  with  similar  marks.  1870 

1309'     Raku   tea-bowl.     D.   44    in.     Flaring  below,  con- 
stricted  at   mouth.     Yellowish-white  clay,  white  underglaze. 
Light  red  Raku  overglaze  with  olive-green  areas. 
Mokuhaku  (imp.).  1870 

1310*.  Hand- WARMER,  carved  in  form  of  priest's  drum. 
D.  9^  in.  Coarse  light  fawn  clay,  thick  grayish-white  glaze. 
Mokuhaku  and  Akahada  yama  (imp.).  1880 


•307 


'309 


1310 


GOJO    (Case  12) 

A  rough  black  Raku  pottery  was  made  here  in  1879.     It  was  unsigned  and  had  no 


merit. 


131 1.     Tea-bowl.     D.  5 J  in.     Raku  clay,  glistening  black  Raku  glaze.     Rough  area  repre- 
senting Fuji  in  grayish-white.  1878 


KOCHIUTEN    (Case  12) 

In  1874  an  oven  was  erected  in  Soyeshimon  district,  Yamato.  The  work  was 
signed  with  the  impressed  mark  Kochiuten  written  in  Chinese  style.  The  pieces  were 
evidently  made  after  Chinese  models. 


I312.  Flower- HOLDER.  H.  3I  in.  Hard  stone  clay, 
thick  olive-brown  glaze  mottled.     Kochiuten  (imp.).      1874 

13^3-  Tea-pot.  D.  5^  in.  Blunt  nozzle,  looped  handle 
opposite  nozzle.  Coarse  reddish-brown  clay,  thick  grayish- 
white  glaze.     Kochiuten  (imp.).  1874 

1314-  Flower-holder.  H.  3,^  in.  Fine  light  brown 
clay,  thick  opalescent  glaze,  large  areas  of  brownish  under- 
glaze exposed.     Blistered.     Kochiutm  (imp.).  1874 


i3'3 


i3'4 


PROVINCE   OF  ECHIZEN  109 

YAMATO   IN   GENERAL  (Case  12) 

I3I5'     Large  bowl.     D.  si  in.     Coarse  light  fawn  clay,  thick  grayish-white  glaze  pitted. 
Clay  dark  reddish  at  junction  of  glaze.   High  basal  ring  notched. 
Kakihan  impressed.  1840 

I316— 1324.     Tea-jars.     These  are  all   modern,  and 
have  little  or  no  merit. 

1325*     Incense-box,  bird.     L.  ij  in.     Fine  fawn  clay, 

thick  green  glaze  clouded.     Yamato  ?  (imp,).  1830        1325  1315 


PROVINCE   OF   ECHIZEN 

There  are  but  few  records  available  concerning  the  potteries  of  this 
province.  A  potter  from  Fukui,  having  learned  the  art  of  pottery-making 
in  Kyoto,  built  an  oven  in  the  village  of  Mikuni  in  1750,  and  signed  his 
work  Mikuni.  There  is  no  example  in  the  collection.  In  the  town  of 
Fukui  pottery  was  made  in  the  middle  of  the  seventeenth  century  bearing 
the  mark  Setosuke.     Of  this  work  also  the  records  are  conflicting. 

SETOSUKE   (Case  12  and  Plate  VII.  1326,  1327,  1330) 

From  Ninagawa  I  derived  the  statement  that  in  1665  a  potter  from  Seto,  Owari, 
was  invited  by  Yamada,  a  wealthy  man,  to  erect  a  kiln  in  Fukui.  His  work,  though 
peculiar,  was  somewhat  after  the  style  of  Seto  pottery  of  that  date.  It  is  said  that 
the  remains  of  the  old  oven  are  still  to  be  seen.  The  work  is  of  great  rarity,  and 
shows  the  evidences  of  a  skilful  potter. 

1326.  Tea-bowl.  D.  4^^  in.  Vertical  sides,  thick  and  heavy.  Light  gray  clay,  dull  fawn 
underglaze,  thick  heavy  gray  overglaze  with  light  bluish  tinges,  flecked  with  brown  spots. 
Highly  lustrous.  Around  rim  a  band  of  conventional  flowers  in  white  Mishima.  Low  basal 
ring  with  two  notches.     Setosuke  (imp.).  1665 

Type  Ninagawa.     Part  VII.,  Fig.  22. 

1327-     Tea-bowl.     D.  4^  in.    Thick  and  heavy.    Light  fawn  clay,  light  fawn  glaze  mottled 
with  darker  dots.     Lower  portion  with  encircling  lines.     Two  notches  in  base. 
Setosuke  (imp.).  1665 

Type  Ninagawa.     Part  VII.,  Fig.  21. 

1328.  Bowl.  D.  5^  in.  Thick  and  heavy.  Hard  fine  fawn  clay,  olive  glaze  finely 
mottled  with  minute  dark  spots.     Setosuke  (imp.).  1665 

Gift  of  Henry  O.  Havemeyer. 

1329.  Bottle.     H.  9I  in.     Large  cylindrical  body,  nar- 
row neck.     Light  fawn  clay,  thick  grayish-white  glaze,  band 

of  scrolls  in  blue  around  shoulder.     Setosuke  (imp.).       1665 

1328  1329  1330 

I330'     Flower -vase.    H.  8J  in.    Constricted  below,  widely 
flaring  above.    Sides  squeezed  together.    Hard  fine  warm  gray  clay,  light  gray  glaze,  warmer 
overglaze.     Setosuke  (imp.).  1680 


1329 


iio  THE   CATALOGUE 

I33I'    Bowl.     D.  4^  in.    Light  fawn  clay,  dull  transparent  glaze,  thick  white  overglaze 
about  rim.     Unsigned.  j58o 

FUKUI   (Case  12) 

The  following  bowl,  though  of  fair  age,  bears  the  mark  Fukui,  and  is  placed  here 
from  its  resemblance,  in  clay  and  glaze,  to  modern  examples  of  common 
pottery  made  in  this  place.  Ggi     /g\ 

1332-  Bowl.    D.  4J  in.    Light  fawn  clay,  light  olive  fawn  glaze,  coarsely     [gj     Ity 
crackled.     Kaseyama  and  Fukui  (imp.).  1840  1332 

JINOKA  (Case  12) 

In  1885  a  potter  was  at  work  in  Sakai  making  pieces  after  modern  style  of  glaze, 
though  strictly  in  accord  with  Japanese  taste,  and  intended  for  home  use.  The  single 
piece  in  the  collection  shows  the  work  of  a  good  potter. 

1333-  FiRE-VESSEL,  with  handles  and  three  legs,  imitating  bronze  form.     H.  7^  in.     Hard 
light  fawn  clay,  brown  underglaze ;   light  fawn  overglaze  flecked  and  running. 
Jinoka  tsukuru  in  (imp.).  1885 

Gift  of  his  excellency  Mr.  Kuki. 


^ 


15. 


TSURUGA   (Case  12)  '333 

A  common  pottery  for  wines  and  cordials  is  made  to-day  in  Tsuruga  The  work 
is  interesting  only  from  the  fact  that  in  clay  and  glaze  it  resembles  the  old  Setosuke 
pottery. 

1334*    Bottle.     H.  \\  in.     Light  gray  clay,  warm  gray  glaze  speckled  with  brown.       1890 

ECHIZEN    IN    GENERAL   (Case  12) 

1335-    Tea-jar.    H.  3J  in.    Soft  light  red  clay,  light  orange  Raku  glaze  with  greenish  area, 
stream  of  olive-black  glaze  on  one  side.  Recent 


PROVINCE   OF  CHIKUGO 

Scant  information  is  available  concerning  the  pottery  of  this  province. 
Brief  references  are  made  to  it  by  Ninagawa,  and  allusions  to  it  are  found 
in  the  book  Tokiko.  The  enormous  quantities  of  blue  and  white  porcelain 
made  in  the  adjacent  province  of  Hizen  doubtless  overshadowed  the  efforts 
of  the  Chikugo  potters.  A  white  stone  pottery  in  the  form  of  incense- 
boxes,  with  moulded  diaper  and  light  blue  glaze,  is  said  to  have  been  made 
within  recent  years  in  the  town  of  Kurume.  A  single  piece  in  the  collec- 
tion is  believed  to  be  Kurume,  but  the  evidence  is  conflicting,  and  it  is 
therefore  included  among  the  doubtful  objects. 


PROVINCE   OF  lYO  iii 

YANAGAWA   (Case  12) 

A  number  of  bowls  in  the  collection,  suggesting  Karatsu,  and  bearing  the 
impressed  mark  Yanagawa,  were  made  in  the  town  of  that  name  in  the  early  part  of 
this  century.  Mr.  Takawara,  a  native  of  the  province,  told  me  that  the  oven  was 
established  by  order  of  Prince  Yorimori  Arima.  A  potter  was  employed  who  first 
learned  the  art  from  one  of  the  Kyoto  Raku  potters.  A  kakihan  of  the  prince  also 
occurs  on  some  of  the  pieces. 

133^'  Tea-bowl.  D.  4I  in.  Hard  light  fawn  clay,  lustrous  transparent  glaze,  with  traces 
of  overglaze  flecked  with  light  blue  around  rim  and  inside.     Unsigned.  1815 

1337'  Tea-bowl.  D.  4I  in.  Thick  and  heavy.  Hard  brown  clay,  thick  gray  glaze  with 
splashes  of  whitish  overglaze.  Strong  comb-marks  through  glaze.  Basal  ring  flaring  and 
wide,  notched.     Kakihan  impressed.  1825 

I338.  Tea-bowl,  flaring.  D.  5I  in.  Hard  reddish-brown  clay,  thick  clear  gray  glaze, 
mottled  and  shiny.     Kakihan  impressed.  1825 

1339-  Deep  tea-bowl,  vertical  sides.  D.  3I  in.  Thick  and  heavy.  Clay  and  a^\.  ^ 
glaze  similar  to  last.     Kakihan  impressed.  1830    #^?|^^ 

1340.  Tea-bowl,  flaring.     D.   6   in.     White   stone  clay  with  pinkish  tinge,  1338 
thick  bluish-white  glaze.     Unsigned.                                                                  1830 

1341.  Tea-bowl.  D.  \\  in.  Dull  brownish  clay,  gray  glaze.  Lathe-marks  distinct. 
Yanagawa  (imp.).  1830 

1342.  Shallow  bowl,  with  straight  and  flaring  sides.  D.  5^  in.  Hard  ffff]  vf^\ 
chocolate-brown  clay,  thin  transparent  glaze,  olive  overglaze  running  and  l>6)  \jSt] 
forming  a  fringe  inside  and  out.    Yanagawa  (imp.).  1840      v3i/      V.^ 

1341       1342 


PROVINCE   OF   lYO 

The  records  are  scant  regarding  the  pottery  of  this  province.  The 
older  pottery  is  exceedingly  rare.  The  few  potters  who  worked  in  the 
province  came  from  other  parts  of  the  empire,  and  judging  from  the  objects 
in  the  collection  the  pottery  had  no  special  merit. 

MATSUYAMA   (Case  12) 

In  1790  the  governor  of  lyo  invited  a  potter  from  Kiyomizu,  Kyoto. 
The  oven  was  erected  in  a  garden  east  of  the  castle  of  Matsuyama, 
and  the  work  following  Kyoto  models  continued  for  a  short  time.  The 
pieces  bear  the  impressed  mark  Yoshu  Matsuyama,  and  are  of  extreme 
rarity. 

1343'     Dish.     D.  4^^  in.     Dull  fine  brown  clay,  warm  gray  glaze,  light  gray  1343 

overglaze  running  inside.     Yoshu  Matsuyama  (imp.).  1790 


»I2  THE  CATALOGUE 

SHINSHIROYAMA 

A  covered  jar  modeled  with  some  skill  is  believed  to  be  the  work  of  a  potter  who 
established  an  oven  near  the  mountain  village  of  Urabe.    The  clay  closely 
resembles  that  of  Suyehiroyama. 

1344*.  Covered  jar.  H.  6J  in.  Sides  ribbed  by  vigorous  lathe-marks  inter- 
rupted by  nine  indented  vertical  lines.  Shoulder  rounded  with  six  deep  indenta- 
tions.     Fine  hard  light  brown  clay,  brown  Seto  glaze,  white  overglaze  flecked 

with  light  fawn  running.     Inside,  transparent  glaze.     Shinshiroyama  (imp.),    i860 

•344 

SUYEHIROYAMA  (Case  12) 

In  1867  a  potter  by  the  name  of  Jensuke  Kawano  came  from  Bizen  and  established 
a  pottery  at  Minatoyama,  near  Imabari.  He  made  flower-vases,  small  tea-pots,  bowls, 
etc.,  signing  them  with  the  impressed  mark  Suyehiroyama.  In  1874  he  made  pottery 
at  Shiroyama,  and  worked  for  a  few  years,  when  he  abandoned  his  pottery  and  went  to 
Osaka. 

^345"     Large  bowl,  rim  compressed  in  outline  of  peach.    D.  7  J  in.     Dull  light  brown  clay. 
Piece  dipped  successively  in  light  fawn,  white  and  green  glaze,  overlapping, 
forming  three   distinct   areas   inside   and    out.     Three   spur-marks   inside. 
Suyehiroyama  (imp.).  1867 

1346*.     Large  bowl.     D.  6  in.     Similar  to  last.      Suyehiroyama  (imp.). 
Small  mark.  1867 

1347*     Jar.  rapidly  swelling  above.     H.  6J  in.     Fine  light  grayish  fawn 

clay,  unglazed.     Large  irregular  splashes  of  white,  green,  and  steel-blue  glaze  on  shoulder 

running.     Unsigned.  1867 

TOBIMURA   (Case  12) 

A  potter  by  the  name  of  Tobimura  has  recently  made,  among  other  forms,  a  semi- 
porcelain  of  fine  consistency  and  tasteful  designs.  Its  glaze  suggests  Balleek.  The 
oven  is  in  Matsuyama. 

1348.    Tea-cup.    D.   3  in.    White  stone  clay,  ivory-white  glaze.     Band  of    ornamental 
scallops  impressed  just  below  rim.  1892 


PROVINCE   OF  SHIMOTSUKE 

With  the  exception  of  a  few  centres  in  Iw^aki,  Sado,  and  Iwashiro,  the 
pottery  industry  is  found  in  but  few  places  north  of  the  latitude  of  Tokyo. 
Many  ovens  have  been  started  only  to  fail  after  a  short  time.  It  has  been 
a  matter  of  extreme  difficulty  to  secure  essays  of  the  ovens  of  some  of  these 
northern  provinces.  With  few  exceptions  the  work  has  nothing  to  com- 
mend it  except  rarity. 


PROVINCE   OF  SHIMOTSUKE 


"3 


KOSUNA   (Case  12) 

In  1854  Hanbei  Fujita,  by  order  of  the  governor  of  the  province,  established  an 
oven  in  the  village  of  Kosuna.  On  his  work  he  was  instructed  to  record  the  place 
and  date  of  fabrication.  The  son  of  Fujita  continued  the  oven  for  a  short  time. 
Judging  from  the  single  piece  in  the  collection  the  pottery  had  no  special  merit. 

1349'     Square  bottle.     H.  ioJ  in.     Hard  light  fawn  clay,  thick  white  glaze.     Decoration 
of  pine  in   clear   blue,  roughly   sketched.     Bottom 
glazed,  on  which  is  written  in  blue  the  mark,  Ansei 
san   run,  Shimotsuke  no  kuni  nasu-gori  Kosuna-mura 
ni  oite  kore  wo  tsukuru.  1854 


KICHIROKU   (Case  12) 

A  potter  named  Ida  Kichiroku  made  pottery 
for  a  short  time  in  the  village  of  Sano.  A  few 
pieces  were  decorated  after  Kenzan  style.  In 
i860  he  came  to  Tokyo  and  opened  a  bric-i-brac 
shop  in  Asakusa,  and  also  started  an  oven. 
Among  other  objects  he  made  little  figures  after 
Ky5to  style.  Ninagawa  records  Kichiroku  as 
coming  from  Shimosa.  Another 
authority  states  that  he  came 
from  Sano,  Kozuke.  This  diver- 
sity of  opinion  arises  from  the 
juxtaposition  of  the  three  pro- 
vinces. A  piece  of  Kichiroku 
bears  the  inscription  of  Sano, 
Shimotsuke,  which  may  be  re- 
garded as  settling  the  question. 
Ninagawa  further  says  that  after 
Kichiroku's  experience  inTokyS 
he  went  to  Ise,  where  he  made 
pottery  after  Oribe  style.  From 
here  he  went  to  Kameyama, 
Hizen,  where  he  made  "  blue 
and  white."  In  the  Waggaman 
collection  is  a  piece  marked 
Kitsuroku  Kameyama,  and  this 
specimen  closely  resembles  a 
square  dish  from  Ninagawa's 
collection  (see  below.  Cat.  No. 
1351),  said  to  have  been  made 
by  Kichiroku  in  ShimSsa.  I 
am  not  able  to  say  whether 
Kichiroku  and  Kitsuroku  are 
the  same  or  different  potters. 


■35' 
(see  p.  114) 


it 


1349 


W\§:  t. 


1350 
(see  p.  114) 


114  THE  CATALOGUE 

1350-  VVater-jar.  H.  8  in.  Light  soft  clay,  thick  white  glaze.  Overglaze,  decoration  of 
formal  chrysanthemums  and  leaves  in  green,  brown,  and  yellow  on  a  dark  brown  ground. 
Wave-marks  in  blue  on  the  white  glaze.  Written  in  brown,  on  the  bottom,  is  the  mark 
Ya  no  Kashiu  Sana  Shomatsu-mura  Koseibaku-tei  nite  Yoshu  Kenzan^toin  Shinsei  tsukuru 
Kichiroku  kore  wo  bosu.     (Reduced  one  half;  see  p.  113.)  1858 

I35I'  Square  cake-dish.  W.  6J  in.  Fine  dark  fawn  clay.  Thick  dark  brown  Seto  glaze 
across  one  half,  on  other  half,  thick  white  glaze.  Outside,  decoration  of  wheels  and  waves  in 
brown  and  blue.  Inside,  leaves  and  flowers  in  light  fawn.  Riujiu  Kitsuroku  zb  (written ;  see 
p.  "3)-  1858 


PROVINCE   OF   KOZUKE 

The  collection  contains  a  very  few  specimens  known  to  have  been  made 
in  this  province.  They  are  absolutely  without  merit,  and  most  of  them 
seem  to  have  been  made  for  souvenirs. 

ISOBE   (Case  12) 

Agano  Kiyomizu  made  pottery  in  the  village  of  Isobe.     The  output  consisted  of 
common  dishes  and  the  like. 

1352.  Cake-dish.  D.  8J  in.  Dull  light  brown  clay,  thick  fawn  glaze.  Inside,  areas  of 
rich  dark  green  overglaze.  1840 

SENKA  (Case  12) 

In  the  village  of  Ikao,  within  twenty-five  years,  a  potter,  signing  himself  Senka,  made 
a  soft  Raku  pottery  with  yellowish  glaze  and  coarse  crackle.     As  Ikao  is 
a  famous  place  of  resort  on  account  of  its  hot  springs,  the  pottery  is  made 
expressly  for  souvenirs.     The  pieces  are  signed  Senka  tsukuru,  and 
also  Senka  with  a  square  mark  which  has  not  been  deciphered. 

^353-  Plate,  irregular.  D.  4J  in.  Light  fawn  clay  and  glaze.  Inside, 
poem  in  white  with  red  seal.  Ikao  yaki  (imp.).  Inside,  Senka  tsukuru, 
written  in  red.  1880       '^53  «3S4 

1354-  Wine-bottle,  with  looped  handle.  H.  6J  in.  Soft  grayish  white  clay,  light  green- 
ish -  yellow  Raku  glaze,  coarsely  crackled.  Tori-i  and  tree  rudely  sketched  in  brown. 
Senka  Ikao  (written).     Impressed  mark  illegible. 

^355-      Cake -DISH.     L.   s|  in.     Soft  whitish-gray  clay,  thick  light  /^^ 

salmon  Raku   glaze,  coarsely  crackled.     Cloth   mark  impression  on  ^ 

bottom.     Ikao  Senka  tsukuru  (written).  1880 


SUWA   (Case  12) 

The  single  bowl  in  the  collection,  bearing  the  mark  of  Suwa, 
is  said  to  have  been  made  in  Kozuke  in  1870.  Nothing  is  known 
about  the  potter  or  the  oven. 

135^-     Tea-bowl.     D.  4^  in.     Light  brown  clay,  dark  brown  glaze. 
Suwa  (imp,).    Hachi-ju  san  (inc.).  1870 


I3SS 


PROVINCES   OF  HIDACHI  AND  MING  115 

PROVINCE   OF   HIDACHI 

Few  records  are  available  regarding  the  pottery  of  this  province.  A 
number  of  ovens  have  existed  in  the  past,  but  the  character  of  the  pottery 
cannot  be  judged  by  the  few  objects  in  the  collection. 

KAIRAKU   (Case  12  and  Plate  VII.  1357) 

A  pottery  was  started  in  the  town  of  Mito  in  1830.  The  pieces,  consisting  of 
utensils  for  the  tea  ceremony,  were  signed  with  the  impressed  mark  Kairaku,  and  are 
of  great  rarity.  The  two  specimens  in  the  collection  are  so  remotely  unlike  in  clay, 
glaze,  and  design  that  they  might  have  been  made  at  the  two  extremities  of  the 
empire. 

1357'     Cake-plate.     D.    5^   in.     Moulded.     Fine   light  brownish   clay,  thick  olive-green 

lustreless  glaze.     Inside,  design  of  a  flower  in  high  relief.  Within,  five  spur-marks. 

Cloth -mark    impression  on  bottom,   which    shows   five  or   six   parallel    gouges. 
Kairaku  (imp.).  1835 

135^-     Shallow  cup.     D.  5-^   in.     Light  yellowish   clay,  thick  yellowish-white 
glaze.     Inside,  Tokugawa  crest,  large  and  small,  in  brown.     Kairaku  (imp.).      1835       1357 

KASANA   (Case  12) 

Within  recent  years  a  common  pottery  has  been  made  in  Kasana.  The  output, 
consisting  of  jars,  teapots,  and  the  like,  is  for  domestic  use. 

^359-    Jar.     H.  4J  in.    Light  brick-red  clay,  light  brown  glaze  flecked  with  light  fawn, 
thick  fawn  overglaze  around  rim.  1885 

1360.     Bottle.     H.  (>\  in.     Similar  to  last. 


PROVINCE   OF   MINO 

Two  hundred  years  ago  white  stone  pottery  and  porcelain  were  made  in 
this  province.  The  famous  egg-shell  porcelain,  so  well  known  to  collectors, 
was  also  made  here.  Within  forty  years  little  delicate  porcelain  wine-cups 
were  made  in  Mino  and  decorated  in  Tokyo  with  the  thickest  and  brightest 
of  blue  painting.  These  often  had  an  envelope  of  bamboo  basketry  inclos- 
ing them.  Pottery  has  been  made  in  the  province  from  ancient  times,  and 
various  allusions  to  it  are  met  with  in  Japanese  books. 

KUJIRI   (Case  12  and  Plate  VII.  1363) 

A  double  gourd-shaped  bottle,  which  might  be  mistaken  for  Tamba  or  Seto,  has 
an  incised  inscription  on  its  base  indicating  that  it  was  made  in  the  ninth  year  of 
HSreki  in  the  oven  of  Kujiri  village.    This  date  is  equivalent  to  1752.     In  the  work 


ii<  THE   CATALOGUE 

Toki  Shoshi  it  is  recorded  that  a  potter  named  Kato  Yosobei  Kagamitsu  established 
an  oven  in  Kujiri  village,  Mino,  in  1574.  He  came  from  Seto.  His  son  introduced 
Karatsu  methods.  It  is  possible  that  the  object  under  consideration  is  the  work  of 
a  descendant  of  this  potter.    Gift  of  S.  Bing. 

1363-     Double  gourd-shaped  bottle,  with  fillet  representing  a  cord  around  centre  and 

forming  a  looped  handle.     H.  sJ  in.     Fine    brown  clay, 

transparent  underglaze.     Iridescent  seal-brown  overglaze,  \ 

with  irregular  areas  of  lighter  brown.     Kujirimura  Kama  t  -^^ 

HSreki  Ku-tun  Uno  Shichi-gatsu  Kichi  nichHyac^.        1752    ^"'"^       ^^ 

YOYAMA   (Case  12) 


I 

-^  .  •   "^    w^^ 

A  potter  by  the  name  of   Yoyama  Shichiyemon    ^C^      jt*^^     T^^ 
made  black  Raku  bowls  and  other  objects  for  the  tea      \'\      *  i^^T 
ceremony  in    Gifu  in    i860.      He   signed   his   work 
Uho. 


1364-  Tea-bowl,  irregular  in  form.  D.  3^  in.  Hard 
coarse  light  gray  clay,  black  Raku  glaze. 
Uho  (imp.).  i860 


1365-     Incense-box,     rice-bag     with     Daikoku.      1364  1363 

H.  2|  in.     Light  yellowish  clay  and  glaze. 

Uho  (imp.).  i860 


TAIGA   (Case  12) 

A  potter  by  the  name  of  Kono  Taiga  made  pottery  at  Akasaka  in  1867.  Among 
other  objects  were  unglazed  tea-pots  and  ink-stones  of  hard  brown  unglazed  pottery. 
He  signed  his  pieces  Taiga  Sanka  etc. 

1366-     Ink-stone.     L.  2^  in.     Fine  brown  clay,  unglazed.     Scroll  slightly  carved  on  sides. 
Taiga  Sanka  Seifutei  tsukuru  (imp.).  jgg 

The  characters  Taiga  have  also  been  read  Irusa. 

ONKO   (Case  12)  jMlll^ 

Onko  of  Kiyomizu,  after  visiting  many  places,  came  to  Akasaka,  when  /Si,  i  A.| 

Koku  Sen  of  that  place  suggested  his  erecting  an  oven,  and  for  a  while  J^  f=~ 
pottery  was  made  after  Banko  models.     He  was  a  skilful  and  delicate  1366 

artist,  as  shown  by  the  refinement  of  his  work. 

1307.     Tea-pot.     D.  af  in.     Fine  chocolate-brown  clay,  unglazed.     Around  rim,  delicate 
fringe  of  robin's-egg-blue  glaze.     Cover  with  same  glaze.     Pine  and  plant  in  black, 
poem  in  gold.     Cloth-mark  impression  on  bottom.     Onko  (imp.).  1877      /^^ 

1368.     Tea-pot.     D.  2{  in.     Fine  light  pinkish-brown  clay.     Surface  roughened.      ^^ 
Cover  and  upper  portion  tinged  with  gold.    Bamboo  and  poem  in  gold.^  Onko  (imp.).      '^^ 

1880 


^ 


Ww^lC 


s 


CASE    12 


:-.?'^q 


<^^  »?' 


1171      iny 


»m      afc<i 


ms 


JZ8»        1142  ab8    1163  lit,^'  '1<>7 


)Z^^ 


ISI"!  1313  iSli     ~  /3iS  U^y  IZ8Z  1X86        1216       1187        lX<f8  l3/( 


JSll    '31*    "i?   '5i& 

ni 


depots 


1303     I30Z  130S  |30^  1306         iSOb"        I2S6  )30K  liS't 

At 

J^    iC' Il>    "Jill        13A1,    1311       >33  6  }P~K 


ia?2,         133a 13^7        'sy?  . 


lyr?      1326    1317 


IzTl      TSTT 


U70 


•3^.8   CS,.::^  1 369 


r^ig^ 


I3S-Z 


usv 


iS'fT  il'lS 


l3b-6 


1350  i3i-|  iS-tS  '^"       '^''*'         '366        I3S-3       '-^77,,^       )3'r3  '3'/8 


PROVINCES  OF  YAMATO,   ECHIZEN,  CHIKUGO,   lYO,   SHIMOTSUKE,  KOZUKE, 

HIDACHI,  AND  MING 


/r^ 


PROVINCE   OF  SUO  I17 

SEKISEN   (Case  12) 

This  potter  was  a  younger  brother  of  Onko,  and  made  pottery  after  the  same 
models,  using  the  impressed  mark  Sekisen. 

1369-    Water-cooler  for  tea.     D.  2f  in.     Fine  light  brown  clay,  unglazed.    Flower  and 
poem  strongly  incised.     Inside,  rich  green  glaze.     Rim,  gilded.     Cloth-mark  impres- 
sion on  bottom.     Sekisen  (imp.).  xZZo     p^\ 

GENKO   (Case  12)  1369 

This  potter  evidently  belongs  to  the  family  of  Onko,  and  followed  the  methods  of 
Onko  in  making  pottery. 

I370'     CoMFiT-BOTTLK     D.  3J  in.     Fine  light  brown  clay,  roughened  surface  unglazed. 
Genko  (imp.).  1886 

AKASAKA   (Case  12) 

Within  recent  years  a  very  durable  and  bright  glazed  pottery  for  common  utensils 
has  been  made  in  Akasaka,  the  name  of  the  place  being  used  as  a  signature. 


I37I*-     Low  COVERED  JAR.     D.  6^  in.     Light  reddish  clay.     Bright  reddish-brown     Jte 
glaze,  strongly  mottled  with  black.     Akasaka  (imp.).  1870      1371 


PROVINCE   OF   SUO 

Su5  is  surrounded  on  all  sides  by  provinces  famous  for  the  extent  and 
variety  of  their  fictile  products.  It  has  evidently  been  difficult  for  Suo  to 
compete  with  her  neighbors  in  pottery-making,  and  to-day  but  few  ovens 
are  found  within  her  borders,  and  in  past  times  but  few  were  known.  The 
old  pottery,  so  difficult  to  obtain,  was  either  a  hard  stone  product  or  a  semi- 
porcelain.  The  clay  was  finely  manipulated,  and  the  work  shows  great 
skill  and  taste.  For  the  following  information  I  am  almost  entirely  indebted 
to  old  potters  and  antiquarians  of  Su5,  to  whom  I  was  presented  by  Mr. 
Kikkawa  of  that  province. 

TADA   (Case  13  and  Plate  VIII.  1372,  1374,  1375) 

As  early  as  1690  a  pottery  was  established  at  Tada  by  order  of  Kikkawa,  Daimyo 
of  Suo.  A  potter  named  Nishimura  was  called  from  Kyoto,  and  he  acted  as  teacher 
to  Kawada  Seihachi,  a  Tada  potter.  At  the  outset  the  products  were  sent  to  Kyoto. 
For  one  hundred  years  the  pottery  was  active,  and  various  forms  were  made.  The 
material  was  hard,  the  glaze  in  some  cases  very  beautiful,  the  taste  severe.  The  semi- 
porcelains,  with  white  glaze  and  blue  decoration,  were  unique.  The  marks  were 
Tada  Iwakuni,  or  Iwakuni  set,  impressed  or  written.  The  oven  became  extinct  one 
hundred  and  thirty  years  ago. 


ii8 


THE  CATALOGUE 


»372 


1372.     Tea-bowl.     D.  4I  in.     Fine  fawn  clay,  light  gray  glaze.     At  junction  of  glaze,  clay 
tinged  a  deep  orange.     Vertical  and  irregular  lines  incised  in  white  Mishima. 
Iwakuni  7ada,  impressed  in  fan-shaped  panel.  1770 

1373'  Hanging  flower-holder,  in  form  of  spiral  shell  (Terebra).  L.  i8|  in. 
Hard  fawn  clay,  thick  warm  gray  glaze,  not  crackled.  Iwakuni  Tada,  im- 
pressed in  fan-shaped  panel.  1770 

1374*  Flower-vase.  H.  10 J  in.  Hard  light  fawn-colored  clay  unglazed.  Figure  holding 
gourd  for  wine,  and  horse  escaping,  in  light  blue,  green,  and  white  enamel,  with  brown  out- 
lines.    Iwakuni  sei  iy/ntiGw).  1770 

I375'  Globular  jar  for  cake,  fiat  cover,  beveled  edge,  section  of  bamboo  for  handle. 
H.  7^  in.  Heavy  and  solid.  Hard  white  stone  clay  very  coarsely  crackled  and  stained. 
Decoration  of  bamboo  and  pine  in  blue.     Iwakuni  set  (written  in  blue).  177° 

Gift  of  Sir  William  H.  Van  Home. 


M  i 


1374 


1375 


V 


K 


y 

1376 


'377 


1■Z^^•    Bowl.    D.  jf  in.     Hard  light  fawn  clay,  rich  light  gray  glaze  coarsely  crackled. 

Nagaya  (or  Hase)  tsuchi  han  to  kore  wo  awase  (inc.).  '^IT^ 

1377.     Bowl.     D.  3J  in.     Hard  light  gray  clay,  light  greenish  glaze  resembling  celadon. 
Nagaya  (or  Hose)  tsuchi  bakari  (inc.).  1770 

1378— 1381.    Gourd-shaped  bottle  and  bowls.  1770 

1382.     Flaring  bowl.     D.  sJ  in.    Light  salmon  clay,  warm  gray  glaze,  with  delicious 
tints  of  purple,  light  blue,  and  gray,  coarsely  crackled.  1770 

1383-1385-     Bowls  and  bottle.  1770 

1386.     Flower -VASE.     H.   8  J   in.     Elephant  handles,   light  yellowish   clay,   transparent 
underglaze,  light  gray  overglaze  coarsely  crackled.  1770 


PROVINCE    OF  SUO  119 

1387'     Bowl.     D.  5^  in.     Light  gray  clay  and  glaze  coarsely  crackled.  1770 

1388.  Cake-dish,  on  three  legs,  five-lobed,  leaf-shaped.    L.  12J  in.     Hard  stone  clay, 
light  greenish  glaze.     Under-decoration  of  brush-marks  in  blue  near  end  of  lobes.  1770 

1389.  Bowl.     D.  5  in.     Light  salmon  clay,  rich  warm  light  gray  glaze,  tinged  with  clay 
below.     Formal  radiating  flower  design  incised  in  white  Mishima.  1770 

1390*     Flower -VASE,    cylindrical.      H.    11    in.     Light   clay,   thick  white   glaze   coarsely 
crackled.     Bottom  indented  and  glazed  brownish-gray.  1770 

X39X>     Cup,  exceedingly  thin  walls.     D.  3I  in.     Fine  brick-red  clay  unglazed.  1770 

1392.  Bowl.  D.  5  in.  Hard  gray  clay  with  dull  brown  surface,  thick 
olive  glaze  lustrous.  Rim  glazed  brown.  Conventional  flowers  and 
scrolls  below  rim,  and  zigzag  lines  on  sides  in  white  Mishima. 

This  was  obtained  in  Suo,  with  the  information  that  it  was  Iwakuni 
pottery.     It  strongly  suggests  Koda.  *770 

1393-     Bowl. 


^ 


CHOZAN    (Case  13) 

One  of  the  earliest  potters  of  Suo  of  which  we  have  any  record 
produced  a  hard  bluish-white  semi-porcelain.  It  was  made  by 
Chozan,  an  Iwakuni  potter,  but  differs  so  much  from  the  work  of  ^ 

the  Tada  oven,  that  it  is  separated  from  it  under  the  name  of  the    >^> 
potter.  /^ 

1394-     Square  trav-shaped  cake-dish,  on  four  long  octagonal  legs.        • 

W.  71^  in.     Heavy  bluish-white  porcelain  with  light  blue  panels.     Design  ^^^ 

scratched  out.      Rim  dark  blue.      Iwakuni  set  Chosan  tsukuru  (written  in  blue).         1700 

KIKKO  (Case  13) 

Kikko,  from   Osaka,  opened   an  ^^ 

oven  a  few  miles  from  Tada  in  1832.  Tf^ 

He  made,  among  other  kinds  of  pot- 
tery, a  yellow  Nankin  semi-porcelain  ^>  M^^ 
with  incised  decorations.  Some  of 
these  pieces  were  signed  with  his 
name  and  date.  He  also  made  the 
usual  Kikko  forms,  black  Raku  bowls 
and  the  like,  with  marks  similar  to 
those  used  in  Osaka.  The  oven  re- 
mained active  until  1837,  when  he 
moved  to  Shinana 


1395-  Water-jar,  indented  in  melon 
form.  H.  7  in.  Hard  white  stone  clay  and 
glaze.  Decoration  in  indigo  blue,  con- 
sisting of  band  of  fret  at  top  and  at  base,  1395 


120 


THE  CATALOGUE 


Hakuden-an  kore  wo. 
1835 


Konomu  Iwakuni yama  Kikko 


1398 


and  poem.      Tempo  kinoyesaru  haru. 
tsukuru  (written). 

I396'  Square  covered  box,  with  looped 
handle.  W.  5!  in.  Soft  light  fawn  clay.  In- 
side, light  fawn  glaze.  Outside,  greenish-white 
glaze  strongly  crackled.  Over-decoration  of 
pine  in  brown.  Incised  inscription  on  cover 
filled  with  gold.  Kikko  (imp.).  On  cover, 
Toshun  ishoku  nashi  (inc.)  (in  Case  6).      1835 

1397-     Black  Raku  bowl.    D.  4I  in.    Jusan-ken  (imp.). 

1832 
1398.  Raku  tea -bowl.  D.  4^  in.  Light  warm  gray 
clay,  rough  thick  black  Raku  glaze,  with  small  whitish  areas 
showing  through.  Jusan-ken  (imp.).  Iwakuni  ni  oite  kore 
wo  tsukuru  (inc.).  1835 

1399-    Deep  Raku  tea-bowl.    D.-  4  in.     Light  red  Raku  glaze  coarsely  crackled  with 
grayish  area  on  one  side.    JOsan-ken  (imp.).  1835 

1400— 1403.     Various  pieces.    JOsan-ken  (imp.).  1835 

1404.     Box,  fan-shaped.     W.  4^  in.     Soft  light  salmon-colored  clay 
and  glaze.     Over-decoration  of  leaves  in  green  and  yel- 
low shaded   with   red  outlined  with  black.    JUsan-ken 
(imp.).     Iwakuni  ni  oite  kore  wo  tsukuru  (inc.).        1835 

I405-  Box,  fan-shaped.  W.  3}  in.  Thick  yellowish 
glaze.  Outside,  rich  green  glaze.  On  top  deep  orange 
glaze,  with  over-decoration  of  flattened  spirals  in  red. 
Characters  in  relief,  gilded.    JOsan-ken  (imp.).         1835 

A  fine  piece  of  work. 
1406.     Deep   bowl.      D.  3I  in.      Heavy   white   semi-porcelain   clay,    thick   deep   orange 
glaze.      Design  of  dragon  and  flames  deeply  incised.     Inside  basal  ring,  dark  brown  glaze. 
Iwakuni  ni  oite  JOsan-keti  tsukuru  (inc.).  1835 

1407'     Cylindrical   flower -vase.      H.  9^  J   in.     Light   drab   clay,   rich    orange   glaze, 
crackled,  iridescent.     Clouds,  flames,  and  dragon  vigorously  incised. 
Tsuru,  in  hexagonal  panel  (imp.).  1835 

Gift  of  Henry  O.  Havemeyer. 

1407 


1404 


I408-14II.    Various  pieces  similar  to  last.    Unsigned. 


183s 


AJINA  (Case  13) 

In  the  little  village  of  Ajina,  on  the  Iwakuni  River,  an  oven  was  built  in  1869,  and 

continued  active  until  1882.     The  work  was  vigorous  and  in  good  taste.  With  one 
exception  none  of  the  pieces  in  the  collection  are  signed. 

I412.     Large  flaring  bowl,  flattened  in  form  of  square  above.     D.  6J  in.  Hard  fine 
brown  clay,  thick  light  gray  glaze.     Rough  over-decoration  of  flowers,  leaves,  and  vine  in 

brown  and  grayish-blue.     Resembles  old  Nagato.  1869 


PROVINCE   OF  SADO  i2i 

I4I3-  Bowl.  D.  4J  in.  Fine  light  fawn  clay  grained  with  darker  colored  clay,  clear 
shiny  transparent  glaze.  Decoration  of  flower  and  leaves  in  white  slip  outlined  in  brown, 
and  brown  pine  needles.  1869 

I414.  Flattened  globular  bottle,  long  cylindrical  neck.  H.  6  in.  Fine  brownish  clay, 
rich  fawn  glaze  coarsely  crackled.     Vigorous  drawing  in  dark  brown  of  fruit  and  leaves. 

1869 

I4I5-  Square  cake-tray,  corners  flattened.  L.  6  in.  Fine  cream-white  clay.  Inside, 
ornamental  border  and  landscape  in  purple,  green,  and  yellow  lined  with  black.  1869 

I416.     Rectangular  cake-tray,  four  short  fluted  legs.     L.  7J  in.     Soft  yellowish  clay, 
thick  white  glaze  glistening,  with  splash  of  bright  green  glaze.    Landscape  in  purple. 
Choraku  (imp.).  1869 


KIMPEIZAN    (Case  13)  1416 

A  potter  named  Kimpeizan  started  an  oven  near  Iwakuni  early  in  1874,  and  con- 
tinued for  some  years.     The  pottery  was  of  white'  clay  and  white  glaze. 

1417.  Flower-vase,  elongate  oval.     H.   8J   in.     Wnite   clay  and  glaze  crackled.     Two 
bands  of  formal  leaves  moulded  and  applied.     Scallop  around  border  in  relief.  1874 

1418,  I4I9-     Plate  and  flower-holder.     White  clay  and  glaze.  1874 


PROVINCE   OF  SADO 

• 

Though  the  island  of  Sado  has  produced  little  in  the  way  of  pottery, 
yet  the  work  of  Kintaro  is  regarded  as  having  considerable  merit.  It 
certainly  is  most  distinctive  in  its  character.  Kintaro 's  work  appealed  to 
the  severest  tastes  of  the  tea  cult.  In  latter  years  Jozan  and  Tomitaro  have 
also  made  a  distinctive  pottery  less  severe  in  taste. 

KINTARO   (Case  13) 

In  the  early  part  of  this  century  Kintaro,  of  Aikawa,  went  to  Kyoto  to  learn  from 
its  potters  the  higher  secrets  of  the  art.  Before  leaving  his  native  place  he  had  made 
a  form  of  hard  pottery  as  well  as  a  kind  of  Raku.  The  hard  pottery  of  the  first 
Kintaro  is  very  characteristic.  It  is  made  of  yellowish-white  clay,  with  greenish  or 
brownish  glaze,  and  gives  out  a  ringing  sound.  The  pieces  are  usually  in  the  form  of 
bowls,  or  shallow  dishes,  moulded,  and  bear  the  incised  marks  of  Sa  Kin,  or  Sashu 
Kintaro  tsukuru.  Specimens  of  the  above  description  may  be  accounted  as  the  work 
of  the  first  Kintaro,  with  an  age  of  ninety  years  or  more.  Native  records  state 
that  Gombei,  of  Niiho,  brought  six  potters  from  Shigaraki,  Omi,  to  Sado,  and  here 
they  worked  for  several  years.  To  these  potters  must  be  attributed  pieces  bearing 
the  impressed  mark  Kintaro.  These  pieces  were  invariably  identified  as  Shigaraki, 
Omi,    by   experts   in   Japan,    until   the   obscure    mark   was    deciphered.     They  are 


123 


THE   CATALOGUE 


extremely  rare.  The  Kintaro  pottery  continued  for  three  generations,  when  the  work 
was  abandoned,  and  the  potters  then  worked  for  Miura  Jozan.  I  have  not  been  able 
to  separate  the  work  of  the  three  generations. 

1420.  Bowl.  D.  4f  in.  Hard  ringing  yellowish  clay,  dull  whitish  underglaze,  light  brown 
overglaze  without  gloss.     Sashu  Kintaro  saku  (inc.).  1800 

1421.  Incense-box  (Bull).     L.  2J  in.    Hard  stone  clay,  light  fawn  under- 
glaze, dark  bright  brown  Seto  glaze.     Sa  Kin  saku  (imp.).  1800 

X422.  Hanging  FLOWER- HOLDER.  H.  3,%  in.  Roughly 
modeled.  Dead  brown  clay,  dark  greenish  glaze  with 
blue  drops.     Sa  Kin  saku  (imp.).  1800 

I423>  Boat-shaped  dish.  L.  7}  in.  Moulded.  Hard 
brown  clay,  thick  opaque  greenish  -  gray  glaze.  Band 
of  flowers  about  rim,  and  a  mass  of  flowers  on  side  in 
reUef.     Unsigned.  1800 

A  unique  example. 


1424.     Deep  fan-shaped  dish. 
gray  glaze.     Star-shaped   fig- 
ures in  relief.     Sa  Kin  (inc.). 
1820 


L.    7j   in.     Moulded.     Dark    reddish   stone   clay,  thick 


-^jft  ^A 


m 


1424 


-('!> 


1425.  Circular  cake-dish, 
D.  6i  in.     Moulded,  fluted 
Light  fawn  clay,  opaque  greenish-gray  glaze, 
flowers   in   high  relief.      Sa  Kin  saku  (inc.). 

1830  1425 

1426.  Melon-shaped  dish,  resting  on  rounded  knobs. 
L.  7f  in.  Hard  light  brownish  clay,  green  underglaze,  green- 
ish-white overglaze.     Sashii  Kintaro  saku  (inc.).  1837 

1427.  Shallow  boat-shaped  dish.  L.  6^  in.  Hard  red- 
dish clay,  greenish-gray  glaze.     Sashii  Kintaro  saku  (inc.). 

1842 

jOZAN   (Case  13) 

Miura  Jozan,   though   employing   some  of  the  last 
Kintaro  potters,  made  pottery  of  an  entirely  different  character.     In  some 
of  his  work  he  used  the  clay  from  the  gold  mines  of  Sado.     One  form  has 
a  reddish  clay  with  thick  white  curdled  glaze.     Another   essay   is  a   sake 
bottle  copied  directly  from  a  Tamba  form,  even  to  the  drawing  of  a  stork 
after  Okyo.     The  work  bears  the  impressed  marks  Sado,  Jozan,  etc. 

1428.  Low  JAR.     H.  4^  in.     Fine  warm  brownish-gray  clay,  transparent  under- 
glaze, gray  overglaze,  showing  white  in  wide  cracks.    Daiboku  Jozan  tsukuru  (inc.). 

187s 

1429.  Flower-holder.     H.  4^  in.     Thick  and  heavy.    Coarse  reddish  clay,  fat 
white  glaze,  curdled.     Encircling  and  vertical  lines  incised.    Jozan  (imp.).         1875 


1428 


PROVINCE   OF  SADO 


123 


1430.  Wine-bottle,  oviform,  short  neck  and  spout.     H.  6  in.    Coarse  dark  brown  clay, 
transparent  underglaze,  dark  warm  gray  overglaze  mottled.     Crane  in  white  with 
brown  underglaze  showing  through    for  tail  feathers,  neck,  and  legs. 
Sado  Jozan  (imp.).  1875 

1431.  Tea-cup.     D.  3,'^  in.     Fine  red*  clay,  thick  cream-white  glaze 
contracting  in  fissures  exposing  red  clay  beneath.  1431 
Jozan  Mumei-i  To  (imp.).    Gift  of  S.  Takenaka.                                   1880 


1430 


TOMITARO   (Case  13) 

In  i860  Tomitaro  Ito  opened  an  oven  in  Aikawa,  and  made  little  wine-cups  and 
tea-cups  of  red  clay  and  transparent  glaze.  The  sides  of  the  cups  have  poems  written 
in  deeply  impressed  characters,  accompanied  by  the  impressed  mark  Tomitaro. 

1432.     Tea-cup.     D.   2^  in.     Fine   red  clay,  transparent  glaze.     Inscription  impressed  : 
SasAu  Kinginzan  Mumei-i  wo  motte  tsukuru  and  Tomitaro. 


1433-     Wine-cup.     Yi.2\  in.     Mask  inside  and  out. 
Bright  light  red  clay  and  glaze.     In- 
side, face  in  white  and  blue.    Mumei-i  Mk^ 
and  Keitando  Sekisui  (imp.).         1875 

1434.     Wine-cup.     D.  2|  in.  Fine 
light  red  clay  unglazed. 

Sado    Kinginzan    Mumei-i  Saku 

Sekisui  (imp.).  1880 


4 


'433 


>432 


KIMBEI   (Case  13) 

A  potter  named  Kimbei,  some  fifty  years  ago,  made  pottery  at  Aikawa  for  a  short 
time.  From  the  resemblance  of  his  work  to  Shigaraki,  he  was  probably  one  of  the 
Omi  potters  brought  to  Aikawa  by  Gombei. 

^435-     OiL-BOTTLE.     H.  2)\  in-     Dull  light   reddish   brown   clay,   fawn  glaze 
running  down  from  neck  in  long  streams ;  fret  impressed  about  shoulder. 
Kimbei  (inc.).  1835 


SADO   IN   GENERAL   (Case  13) 

Other  specimens  recognized  as  Sado,   but   not   specifically 
determined,  are  here  included. 

1436.     Receptacle  for  sweet  sake,  in  form  of  mythological  turtle. 

L.  6|  in.     Reddish  clay  resembling  Bizen,  thin  transparent  glaze. 

Poem  incised.    Kinrin  Godaibo  and  kakihan  (inc.).    1820 

1437-     Plate.     D.   6   in.     Modeled   by   hand.     Hard 

warm  gray  clay,  ringing,  dull  red  glaze.     Scrolls  deeply 

incised.     Slightly  crenulated  rim. 

Tdshi  Nobushige  (imp.).  1840  1437 


M3S  1436 


124  THE   CATALOGUE 

143°   •     Large  bowl.     D.  4I  in.    Thick  and  ringing.     Dark  brownish  clay,  warm  grayish 
glaze.     Base  with  cross-grooves.     On  side,  Kinkei  (inc.).  1800 


1438 


PROVINCE   OF  AWAJI 

But  few  records  are  obtainable  concerning  the  pottery  of  this  province. 
In  the  last  twenty  years  an  enormous  amount  of  pottery  with  clear  green 
and  yellow  glazes  undecorated  has  been  made  for  the  foreign  market.  The 
province  can  preserve  with  pride  the  memory  of  Mimpei,  one  of  the  great 
potters  of  Japan. 

MIMPEI   (Case  13  and  Plate  VII.  1439) 

In  1830  Shuhei,  the  Kyoto  potter,  went  to  Igano  village,  and  there  became 
acquainted  with  a  doctor  named  Mimpei,  who,  interested  in  the  potter's  art,  studied 
with  Shuhei,  and  traveled  about  Awaji  in  search  of  clays.  In  this  experience  Mimpei 
became  a  potter.  His  work  shows  taste  and  originality,  though  the  Kyoto  influence 
is  strongly  marked.     Examples  of  his  work  are  extremely  rare. 

1439-  Cake-plate,  thick  walls.  D.  6^  in.  Coarse  dark  reddish-brown  clay,  transparent 
underglaze,  thick  clear  white  overglaze,  lustrous.  Very  coarsely  crackled.  Over-decora- 
tion of  bird  and  vine  in  brown  showing  light  olive-brown  in  thinner  portion.  Outlines 
scratched  through  brown,  exposing  white  glaze  below.    Mimpei  (imp.).  1830 

Type  Ninagawa.     Vol.  V.,  Fig.  18. 

1440-  Similar  to  last.     D.  7J  in.     Mimpei  (imp.).  1830 

I44^-     Flower-vase.     H.  ioJ  in.     Long  looped  handles  with  ani- 
mals' heads.      Coarse  grayish  clay,  thick  dull  reddish-brown   glaze. 
Outside,  roughened  surface  and  strong  lathe-mark.     Inside,  thick  light  gray  glaze.     Wide 
left-hand  spiral  on  bottom.     Mimpei  (imp.).  1830 

These  three  specimens  are  of  great  rarity. 

SECOND    GENERATION 

The  first  Mimpei  died  when  his  son  was  an  infant,  and  a  nephew  of  Mimpei, 
named  Sampei,  carried  on  the  work  for  a  while.  When  the  son,  in  1865  or  there- 
abouts, finally  assumed  control  of  the  pottery  he  used  marks  similar  to,  if  not  the 
same  as,  those  used  by  his  father.    His  work  was  in  Awata  style,  and  bowls  with  light 


1439        1440      1441 


CASE    13 


1373 


— 1=» — y     \g8&/ 


1390  i3fZ         1386        ^i^^       mi   )3<it     i378  i388 


'381       137^ 


,.<«>.. 


jSliT 


iifc 


1^ 


'^S^ 


j2jvvK33r^\ 


\  J38^    ^        I37Z      .i^^        .iM5- 


ISIZ  ttiH  I3<i<t 


1 


IVS6  I'l'tt  i»,i,b l^'rb )1'<6 


PROVINCES  OF  SUO,   SADO,   AND  AWAJI 


) 


A  H 


or   THE 

UNiVtr.SHY 


1442       1443 


PROVINCE   OF  AWAJI  125 

glaze  and  decoration  in  bright  colors  may  be  regarded  as  second  Mimpei.  These 
bowls  have  high  basal  rings  with  single  notch,  dull  glaze,  and  well  executed  designs, 
usually  of  flowers.  The  form  of  bowl  most  highly  esteemed,  and  the  rarest,  has  for 
its  decoration  a  red  prawn. 

1442.  Bowl.  D.  4J  in.  Fine  fawn  clay,  yellowish-white  glaze.  Over-decoration  of  prawn 
in  bright  red,  green  eyes,  back  touched  with  gold.     Mimpei  (imp.).  1865 

1443.  Bowl.     D.  \\  in.     Clay  and  glaze  similar  to  last.     Cranes  and  pine 
in  green,  dark  brown,  and  red  touched  with  purple  and  gold.     Mimpei  (imp.). 

1444.  X445-     Bowls.    Mimpei  (imp.).  '     ^ 

1446.  Set  of  five  tea-cups.     Each  one  decorated  with  different  flowers  in  bright  colors. 

1447,  1448.     Bowls.     Mimpei  (imp.).  1865 

1449-  Water-jar,  with  twisted  handles.     H.  6J  in.     Elaborate  drawing  of 
flowers  in  bright  colors.     Mimpei  (imp.).  1865 

1447      1449 

1450-  Water-holder,  for  ink-stone,  m  form  of  tea-pot.     D.  2f  in.     Hard 

white  porcelain  clay,  bright  yellow  glaze.     Dragon,  flames,  etc.,  incised.     Mimpei  (imp.). 

1865 

SAMPEI   (Case  13) 

Sampei  established  an  oven  of  his  own,  and  his  work,  so  far  as  known,  is  a  hard 
ringing  pottery  with  bright  yellow,  rarely  green,  glaze.  He  also  made  similar  pottery 
with  bright  yellow,  blue,  and  purple  glazes.  The  mark  Sampei  is  rarely  seen.  Within 
recent  years  the  western  market  has  been  flooded  with  bright  yellow  and  green  dishes 
known  as  Awaji.     These  are  unsigned,  and  are  probably  a  product  of  Sampei's  oven. 

I45I.  FooD-BOWL.  D.  6-^ff  in.  Fine  cream-white  clay,  rich  dark  yellow  glaze  crackled, 
Nippon  Awaji  Sampei  (imp.).  1880 

1452-  Box,  drum-shaped.     D.  3^  in.     Fine  cream-white  clay,  cover  and  bottom      ^  i^ 

light  fawn  glaze.     Body  showing  fine  wood  graining  in  red  and  orange.  

Nippon  Awaji  Sampei  (imp.).  1885     ~^t^ 

145' 
AWAJI   IN   GENERAL  (Case  13) 

The  following  pieces  consisting  of  incense-burner,  brush-holder,  wine-bottles,  lamp- 
rest,  etc.,  are  identified  as  Awaji.  Some  of  them  may  be  by  the  original  Mimpei,  but 
they  are  unsigned  and  nothing  is  known  about  them. 

1453-  Incense-burner,  supported  on  three  short  legs.  H.  2\  in.  White  porcelain  clay, 
light  yellow  glaze  with  irregular  areas  of  green  glaze  on  separate  portions  of  surface.  Inter- 
spaces in  green  glaze  in  the  form  of  chrysanthemum  leaves,  gilded  and  outlined  in  red.     1840 

This  may  be  the  work  of  the  first  Mimpei. 

^454~^459-    Various  pieces  of  Awaji.  1840-1880 


126  THE   CATALOGUE 


PROVINCE   OF   BUZEN 


Though  little  pottery  is  made  in  Buzen  to-day,  yet  in  past  times  its  first 
important  advance,  like  that  of  Satsuma,  Higo,  and  other  provinces,  dates 
from  the  advent  of  Korean  potters  in  the  latter  years  of  the  sixteenth 
century.  Since  that  time  potteries  have  been  started  in  Kaharu  and  other 
places. 

AGANO   (Case  14  and  Plate  IX.  1460,  1469) 

The  pottery  known  as  Agano  takes  its  name  from  the  town  in  which  it  originated. 
Kijo,  a  Korean  potter  brought  from  Korea  with  Hideyoshi's  army,  built  an  oven 
in  Agano,  and  began  making  pottery  with  coarse  clay  and  black  glaze  after  Korean 
models.  Later  a  reddish  clay  was  used  and  a  thick  purplish-brown  glaze  with  a 
surface  which  the  Japanese  in  their  descriptions  likened  to  a  melon.  No  signature  is 
known.     This  early  oven  became  long  since  extinct. 

Within  sixty  years  an  oven  was  started  in  Agano,  where  large  bowls  of  extraordi- 
nary lightness  were  made  of  a  light  yellow  clay  and  transparent  glaze.  Other  bowls 
were  of  a  harder  clay  and  white  glaze.  In  some  is  seen  an  overglaze  of  robin's-egg- 
blue  running  from  the  rim  or  radiating  inside  from  the  centre,  sometimes  alternating 
with  a  rich  brown  glaze.     These  pieces  are  unique  in  character  and  unmistakable. 

The  characters  for  Agano  may  be  read  Ueno  and  also  Kozuke,  the  name  of  a 
northern  province. 

1460.  Tea-bowl.  D.  44^  in.  Light  brick-red  clay,  thick  reddish-brown  glaze  strongly 
curdled.  1600 

Type  Ninagawa.     Part  V.,  Fig.  25. 

1461.  Deep  cup.  H.  2|  in.  Rim  with  five  slight  indentations.  Dull  light  brownish 
clay,  thick  light  olive  glaze.  1630 

1462.  Covered  vessel.  H.  4  in.  Thick  and  heavy.  Mythological  lion  and  ball  forming 
knob  for  cover.  Brownish  clay,  light  warm  gray  glaze,  surface  roughened.  Slight  vertical 
impressions.  1650 

1463.  Bowl.     Similar  to  1460,  though  differing  in  form. 

1464.  Flower-vase.  H.  8|  in.  Light  brownish  clay,  light  olive  underglaze,  large  areas 
of  light  olive  and  golden-brown  overglaze.  1750 

1465.  Jar.  H.  3f  in.  Thick  and  heavy.  Fine  reddish-brown  clay,  thick  light  olive  glaze 
with  thick  splashes  of  overglaze  of  same  color.  i7S° 

1466.  Jar,  with  pottery  cover.  H.  6^  in.  Dull  brown  clay,  thick  greenish-yellow  glaze 
running  halfway  down  from  rim  in  thick  drops.     Inside,  glazed.  1780 

1467.  Bowl.  D.  3I  in.  Light  brick-red  clay,  coarse  white  particles  intermixed.  Rich 
chocolate-brown  glaze  spotted  with  green  and  light  fawn  overglaze.  1800 

1468.  Shallow  bowl.     D.  sf  in.     Light  yellow  clay  and  glaze,  greenish-blue  overglaze 


PROVINCE   OF  BUZEN 


127 


in  irregular  areas  about  rim,  bordered  by  dark  olive-green  in  places.     Inside,  same  over- 
glaze  radiating  from  centre.  1820 
Type  Ninagawa.     Figured  on  unpublished  plate. 

1469.  Bowl.  D.  4^^  in.  Light  yellowish  clay  and  glaze.  Rich  greenish-blue  overglaze 
in  large  areas  running  from  border,  flecked  with  blood-colored  areas  mottled  with  dark  spots. 
Inside,  same  glaze  radiating  from  centre.  1820 

1470*  Bowl.  D.  4I  in.  Dull  yellowish  clay  and  glaze.  Inside,  radiating  lines  of  green- 
ish-blue, and  rich  dark  golden-brown  overglaze  alternating.  1820 

1471.  Bowl.  D.  s|  in.  Exceedingly  light  and  thin.  Fine  light  yellowish-fawn  clay  and 
glaze,  not  crackled.  1830 

1472.  Bowl.  D.  4J  in.  Light  reddish-fawn  clay,  clear,  light  gray  glaze,  1830 
1473,1474.     Bowls.    Similar  to  147  i. 

1475'  Flower-vase,  elephant  handles.  H.  9I  in.  Light  fawn  clay,  rich  fawn  glaze  with 
lighter  fawn  overglaze  mottled  with  golden-brown  and  blue.  i860 

1476.  Flower-vase.  H.  \\\  in.  Thick  and  heavy.  Hard  light  brown  clay,  lustrous 
light  brown  glaze  with  light  gray  overglaze  running.  i860 


JOZAN    (Case  14) 

Jozan  made  tea-pots  with  olive-gray  Agano  glaze.     No  information  is  at   hand 
regarding  the  potter. 

1477'    Water-holder,  in  form  of  tea-pot.     H.  3  in.    Fine  chocolate-brown  cLiy,      /3J\ 
olive-gray  glaze.    Jozan  (imp.).  1840     t^j 

_  1477 

HOSHO  (Case  14  and  Plate  IX.  1478) 

In  1758  Hoko,  a  descendant  of  Totoki  Hoko,  obtained  a  government  monopoly 
for  the  sale  of  pottery.      In   1801   a  descendant  of  Hoko, 
calling  himself  Hosho,  studied  the  art  of  pottery  in  Kyoto. 
Returning  to  Agano,  he  made  pieces  signed  with  the  char- 
acter Ho  in  panel,  and  usually  a  spiral  line  separately  im- 
pressed.    The  character  Sei,  instead  of  Ho,  is  sometimes 
met  with  in  his  work.     The  mark  Taka  is  also  seen.     His 
pottery  has  evidently  been  stored  away,  as  only  within  recent 
years   has  it  appeared.     Whether  .the   fresh  appearance  of 
some  of  the  pieces  is  due  to  storage,  or  whether 
they  are  recent  copies,  it  is  difficult  to  say ;  at 
all  events  the  apparently  new  pieces   are   not 
uncommon. 

1478.  Hanging  flower-holder,  roughly  turned. 
H.  7  in.  Coarse  hard  brown  clay  with  white  gran- 
ules. Large  splash  of  very  dark  brown  glaze 
with  narrow  running  streams  of  thick  white  glaze  j    0 


128 


THE   CATALOGUE 


crackled.     Front  depressed,  and  cross-lines  deeply  cut.     Gionen  hachi-ju  san-sai  Totoki  Hosho 
kore  wo  tsukuru  incised,  and  Ho  in  digitated  square  panel  and  spiral  line  impressed.        1801 

1479-     Gourd-shaped  tea-jar.     H.  2 J   in.     Hard  light  fawn  clay,    light   reddish   tinge; 
thick  lustrous  dark  brown  glaze,  with  rich  mottled  brown  overglaze  and  flecks  of 
thick  white  glaze  crackled,     A  four-petaled  figure  in  relief  on  side.     Ho  and 
[kakihan  ?]  (inc.).  1801 

1480.  Flower-vase.     H.    ioJ  in.     Modeled  in  form  of  tree- 
trunk.     Rough  and  heavy.     Brown  clay,  rich  deep  maroon  brown 
glaze,  irregular  splash  of  light  greenish-blue  and  fawn  over- 
glaze.    Fine  thread-mark.    Ho  and  spiral  (imp.).  1801 

Gift  of  Thomas  E.  Waggaman. 

This  object  is  interesting  as  being  identical  in  glaze 
to  the  bowl  No.   1467,   which  is  unquestionably  Agano,  1479 

Buzen. 

1481.  Flower-vase.     H.  i2f  in.    Light  fawn  clay,  thick  bluish-green  glaze  with 
areas  of  olive  mottled.     Ho  and  spiral  (imp.). 

Gift  of  W.  S.  Bigelow. 


k 


1480 


large 
1801 


DENKO   (Case  14  and  Plate  IX.  1483) 

An  oven  was  started  in  the  village  of  Kaharu,  in  the  district  of  Takawa,  in  1856 
or  thereabouts.  A  variety  of  pottery  was  made.  The  mark  Denko  arises  from  a  con- 
ceit peculiar  to  the  Japanese  of  taking  a  character  from  each  of  two  different  words, 
as  illustrated  in  Toshiro,  Ninsei,  and  others.  In  this  case  the  first  character  of  the  vil- 
lage and  of  the  district  are  taken,  and,  pronouncing  them  in  the  Chinese  way,  we  have 
Ka=Den  and  Ta=K6. 

1482.     Cylindrical  flower -vase.     H 
of  green  glaze  running  down  one  side. 

(On  top  of  Case  14.) 

Gift  of  W.  S.  Bigelow. 

X483>     Cake -DISH.     D.  7  in.     Moulded.     Rim  with  five 
deep  scallops  representing  a  flower.     Dull  light  drab  clay, 
rich  light  green  glaze  flecked  with  gold  and  yellow. 
Denko  (imp.).  1856 

1484.    Jar.      H.  si  ^^-      Coarse  light  drab  clay,  richly  crackled 
Denko  (imp.). 


i8f  in.      Coarse  gray  clay,  white  glaze,  splash 
Denko  (imp.). 


1856 


ffl 


1482 


Satsuma-like  glaze. 
1856 


KU-KEN    (Case  14) 

A  deep  dish  bearing  the  mark  Ku-ken  has  all  the  appearance  in  clay 
and  glaze  of  Buzen  pottery,  and  so  is  placed  here  provisionally. 

1485.     Bowl,  for  rinsings.     D.  5  in.    Roughly  modeled  in  form  of  bag  with  fillet 

of  clay  around  it  to  represent  cord.     Light  brown  clay,  light  greenish-olive  glaze, 

with  rich  bluish-green  overglaze  flecked  with  white  and  golden-brown.     Cloth  impression  on 

bottom.     Ku-ken  (imp.).  1800 


^ 
% 


148s 


PROVINCE   OF  IZUMI  129 

BUZEN   IN   GENERAL   (Case  14  and  Plate  IX.  i486) 

The  tea -jars  are  quite  distinct  from  those  of  other  provinces,  though  a  few 
approach  in  appearance  those  of  Chikuzen. 

i486.    Tea-jar.     H.  3J  in.     Light  dull  reddish-brown  clay,  thick  fawn  glaze  without  lustre, 
splash  of  rich  brown  overglaze  around  shoulder  running,  lustrous.  1600 

Type  Ninagawa.     Figured  on  unpublished  plate. 

1487.     Tea-jar.     Similar  to  last.  1600 

Type  Ninagawa.     Figured  on  unpublished  plate. 

1488-1495'    Various  forms  of  tea-jars.  1600-1780 


PROVINCE   OF   IZUMI 

The  pottery  ovens  of  this  province  are  limited  to  Sakai  and  its  imme- 
diate neighborhood.  The  myth  that  Gy5gi  first  introduced  the  potter's 
wheel  into  Japan  mentions  Sakai  as  the  place  where  he  first  used  it. 

MINATO  (Case  14  and  Plate  X.  1501,  1505) 

The  founder  of  Minato  pottery  is  said  to  have  been  Doraku,  known  as  Kichibei,  a 
brother  of  the  third  Raku.  He  came  to  Sakai  in  1655.  Having  no  son  to  succeed 
him,  he  adopted  a  Kyoto  potter  named  Yahei,  who  is  recognized  as  the  second  genera- 
tion. The  third  generation,  known  as  Kichiyemon,  died  in  1750,  the  fourth  in  1787, 
the  fifth  in  183 1,  the  sixth  in  1849,  the  seventh  in  1852.  All  these  were  known  as 
Kichiyemon.  The  eighth  generation  assumed  the  name  of  Kichibei,  and  died  in  1861- 
1864.  The  present  generation  resumed  the  family  name  of  Kichiyemon.  For  these 
statements  I  am  indebted  to  Mr.  Yamanaka.  Ninagawa  says  that  in  the  latter  half  of 
the  eighteenth  century  the  yellow  glazes  were  introduced,  and  the  mark  Minato  was 
first  used.  Still  later  the  mark  Minato  Yaki  was  impressed  upon  the  pieces.  I  have 
not  been  able  to  separate  the  work  of  the  various  generations,  and  have  classified 
them  simply  by  their  appearance  of  age.  The  pottery  was  after  the  nature  of  Raku, 
being  soft  and  light,  and  usually  having  a  transparent  underglaze  and  a  dull  dark 
yellowish  overglaze.  In  some  cases  a  bright  green  glaze  occurs,  and  in  the  smaller 
pieces  white,  yellow,  and  green  glazes  are  seen  together.  The  rarest  are  the  early 
gray  and  the  purple  and  blue  glazes.     Unglazed  specimens  are  also  known. 

1490.     Shallow  beaker.     D.  sJ  in.     Fine  fawn  clay,  glistening  gray  underglaze,  yellowish 
below.     Brush-marks  in  white  turning  to  deep  gray.     Lathe-marks  strongly  marked. 
Minato  (imp.).  1800       /f^N 

^497*-  Ash-holder.  D.  6f  in.  Fine  light  fawn  clay.  Outside,  unglazed.  In-  "iBv 
side,  light  yellow  transparent  glaze.  Lattice-work  impressed  on  opposite  sides.  '496 
Minato  yaki  (imp.).  1830 

1498.     Flower-holder,  bottle-shaped.    H.  6f  in.    Fine  yellowish  clay,  deep  orange  glaze. 
Rough  vertical  grooves  about  neck.     Minato  yaki  (imp.).  1830 


ISO 


THE   CATALOGUE 


1499.  Dish,  in  form  of  Haliotis.    D.  8  in.    Liglit  fawn  clay,  deep  dull  yellowish-brown  glaze. 
Inside,  splash  of  rich  green  glaze  glistening.    Minato  yaki  (imp.).  1830 

1500.  Incense-box,  in  form  of  priest's  drum.     D.  i  J  in.    Moulded.     Shiny  salmon-colored 
glaze  with  greenish  streaks.     Minato  yaki  (imp.).  1830 

1501.  Handled  beaker.  D.  3J  in.  Strong  lathe-marks.  Fine  f^^  /«^^ 
fawn  clay  and  glaze,  green  overglaze  on  rim.  Under-decoration  L'S]  (  S>l 
of  fern  sprouts  in  black.    Minato  (imp.).  1830       '1^9'      V^/ 

Unique  specimen.  1500        1501  1502 

1502.  Shallow  beaker.      D.  4I  in.      Fine  fawn  clay,   rich   blue  and  purple  glazes. 
Minato  yaii  (imp.),  1840 

Rare  form. 

1503-  Vessel  FOR  candle-snuffings.    H.  2fin.    Minato  yaki  (imp.). 

1840 

1504-  Box,  in  form  of  peach.    L.  2J  in.     Moulded.  1840 
^5°S     Jar,  shape  of  money-bag,  with  fillet  of  clay  in  form  of  cord 
around  constricted  neck.     H.  6^  in.     Yellowish-white  clay,  thick  light  yellow  glaze,  darker 
areas.     Minato  yaki  (imp.).                  1850 

150^15^^-  Various  pieces  of  Minato. 
Signed.  1840-1870 

I512.     Square  box.     Mark  obscure. 

15^3'     Leaf-shaped  dish,  with  leaves  in 


1 50s 


1510 


1512 


relief  inside.      D-  SJ  in. 
fan-shaped  panel  (imp.). 


Glistening  rich  brown  glaze,  bottom  rough. 

1850 


Minato  Ryoko,  in 


KICHIYEMON    (Case  14  and  Plate  X.  1514,  1515) 

In  the  early  part  of  the  century  one  of  the  Kichiyemons,  prob-  '5'3 

ably  the  fifth,  made  a  peculiar  light,  thin  pottery  in  the  form  of  large  vessels  for 
serving  food,  wine-vessels,  flower-holders,  eta  These  were  impressed  with  a  square 
mark  giving  the  name  of  the  province  and  village,  with  the  further  information  that 
the  object  was  the  true  Minato  bake  of  Kichiyemon.  As  the  objects  in  the  collection 
having  this  mark  appear  to  be  recent  issues,  I  have  ventured  to  regard  them  all  as 
belonging  to  the  work  of  the  ninth  generation.  The  collection  possesses  one  object 
with  the  mark  Kichibei,  and  if  the  preceding  account  is  true,  he  must  be  considered 
as  of  the  eighth  generation. 

I5I4-     Cake-dish,  in  form  of  shallow  wooden  box  on  three  short  legs.    D.  e^in.   Dark  orange 
clay  and  glaze.     Inside,  white  glaze  strongly  crackled,  with  decoration  of 
hut  and  trees  in  black.     Outside,  conventional   flowers   in  white  slip. 
Decoration  of  leaves  and  scrolls  in  silver  and  gold.  f  ♦  ' 

SenshU  Sakai  ffon-Minato  yaki  Kichibei  (irap.).  1780       *&-' 

Mark  extremely  rare.  z^  ^^  ' 

1515*     Holder  for  sweet  sake,  in  form  of  mythological  turtle,  tail        ^• 
turned  over  back  to  form  handle.     L.  yf  in.     Light  fawn  clay.     Under-      ^  — 

glaze  transparent,  overglaze  rich  green.    Back  of  turtle  moulded;  tail  '5'4 


PROVINCE   OF  IZUMI 


131 


and  legs  incised.     Murex  on  cover  moulded  in  high  relief.     Senshu  Sakai  Hon-Minato  yaki 
Kichiyemon  (imp.).  1850 

Pieces  of  this  character  are  not  uncommon,  but  are  rarely  signed. 

1516.  Similar  to  last.     Thin  light  greenish  glaze,  light  brown  overglaze  above.     Scales 
on  back  glazed  with  white,  green,  purple,  and  yellow.     Unsigned.  1850 

1517.  Bowl,  very  thin.  D.  4^  in.  Light  reddish  clay,  thin  transparent 
glaze,  showing  salmon  color,  with  warm  gray  areas.  Plum  and  nightingale 
in  black  and  white  overglaze.     Unsigned.  1850 

1518.  Screen.  H.  s|  in.  1880 
X5ig.  Water-vessel,  in  form  of  tea-pot.  D.  8J  in.  1880 
1520*.    Covered  dish.     D.  8  in.                                                              1880 

Last  three  signed  Senshu  Sakai  Hon-Minato  yaki  Kichiyemon  (imp.). 

I52I*.     Dish,  in  form  of  Haliotis,  thin  flat  cover,  with  section  of  bamboo  for  handle. 
D.  9  in.     Light  orange  clay,  thick  orange  glaze.     Cover  with  chrysan- 
themums in  relief  glazed  green,  white,  and  yellow.     Haku  unzan  and 
YUraku  (imp.).  1840 

This  is  placed  here  provisionally. 


1519 


KITANI   (Case  14) 

A  peculiar  unglazed  pottery,  made  of  the  finest  sifted  clay, 
clouded  with  salmon  and  slaty  tints,  was  identified  by  Ninagawa  as 
having  been  made  in  Izumi.     The  pieces  bear  the  impressed  mark  Kitani. 


1 521 


1522.     Small  jar,  with  flat  pottery  cover.     H.  3  in.     Fine  fawn  clay,  large  areas  of  dark 


slate  and  bright  reddish  tinges.     Inside,  light  gray  unglazed.     Kitani  (imp.). 

IS^S-  Rest  for  cover,  in  form  of 
thick  ring.  H.  i  J  in.  Similar  to  last. 
Kitani  (imp.). 

1524.  Round 
BOX.  D.  2 J  in. 
Similar  to  last. 
Kitani  (imp.). 


1855 


1523 


1524 


1525*,  1526*.   Comfit-bottles,  iden- 
tical   in    clay   and 
glaze    with     1523. 
Akagi  (imp.). 

i860 
I527-153O.  Hai- 
sen,  tea-bowl,  bot- 
tle for  sweet  sake,  and  large  bowl. 
These   are   identified   as  Sakai,  Izumi. 
The  bowl  (1528)  bears  the  mark  of  Raku. 


2. 


t^ 


4^ 


1^   M 


'S2S 


1526 


t 

1531  (see  p.  132) 


ija  THE   CATALOGUE 

IIMURO  (Case  14) 

In  1848  a  potter  of  Sakai,  signing  himself  limuro  Tadayuki,  made,  among  other 
forms,  large  shallow  plates  with  basket-work  woven  around  the  rim. 
I53I.     Shallow  plate,  with  basket-work  woven  about  rim.     D.  gj  in.     Salmon  clay  and 
glaze  with  gray  areas.     Inside,  overglaze  decoration  of  stork,  tortoise,  bamboo,  plum,  and  pine 
in  green,  black,  white,  red,  and   blue.      On  bottom, 
written  in  black  (see  p.  131)  : 

,,    .  -,     ( raku  limuro  Tadanobu 

°  (_lo  limuro  ladayukt . 

Hakusai  Kanhiro  hachi  jissai  ga. 


set. 


IZUMI   IN   GENERAL   (Case  14) 

I532.    Cake-dish.    D.  7  in.    Mark  obscure. 

i860 


**.    Incense-box,  square,  looped  han- 

Dull  green   glaze,  fluted  sides.       H.  2^  in 


1533 

dies. 

On  bottom  of  cover,  Zamakiu  Shimpo  utsushi  Shiamu 
Shdsei  set  and  kakihan.  On  bottom,  Kan  Kenei  ni 
nen  tsukuru  (imp.). 


1 533 


PROVINCE   OF  SHINANO 

The  pottery  of  Shinano  is  exceedingly  rare.  One  never  finds  pieces  in 
the  bric-^-brac  shops,  and  it  was  only  by  good  fortune  that  Mr.  Bunkio 
Matsuki,  a  native  of  Shinano,  secured,  through  the  efforts  of  his  father,  a 
number  of  specimens,  with  memoranda  about  the  potters. 

IGARA   (Case  14  and  Plate  XI.  1535) 

In  the  latter  years  of  the  last  century  a  hard 
pottery  was  made  in  the  little  village  of  Igara 
Among  other  objects  a  hundred  bowls  were 
made  for  the  temple  of  Kaizenjl  These  bowls 
had  inscribed  upon  them,  in  black,  Kaizenji  and 
Hiaku  No-uchi. 

1535*     Bowl.    D.  a,\  in.    Thick  and  heavy.    Hard 
light  stone  clay,  thick  light  fawn  glaze  crackled. 

1780 
Characters  on  side  as  above.      Specimen   and 
memoranda  were  obtained  from  Ninagawa. 

FDYA  (Case  14) 

Sujihei  built  an  oven  near  Matsumoto,  and 
made,  among  other  kinds,  Raku  pottery.     He  1535 


PROVINCE    OF  SHINANO 


^ZZ 


signed  his  pieces  with  a  written  mark,  Fuya.  A  bowl  in  the  collection  resembles 
Sumidagawa  as  influenced  by  Kenya.     (See  Musashi.) 

1536-  Deep  tea-pot,  with  curious  looped  handles,  loose  double  ring  in  cover.  H.  5  in. 
Thin  walls,  fawn  clay,  rough  surface  unglazed,  with  small  round  spots  of  yellow  glaze. 
Fuya  (inc.).  18 10 

1537-  Bowl.  D.  41*^  in.  Completely  covered  with  thick  white 
glaze.  Outside,  bands  of  lines  in  diaper,  in  blue.  Two  bands 
of  characters  for  happiness,  longevity,  etc,  in  blue,  green,  yellow, 
and  dark  brown.  Inside,  circles,  etc.,  in  blue.  Rather  thick 
and  heavy.     Fuya  (written).  18 10        1530  1^37 


BOKUSAI   (Case  14  and  Plate  XI.  1538) 

Denzo  Yoshida  lived  in  upper  Suwa  in  1830  or  thereabouts.  He  was  master  of 
horse  to  the  lord  of  Suwa.  Interested  in  pottery,  he  built  an  oven,  and  made  a  kind 
of  Raku  with  rich  green  glazes.     He  signed  his  work  with  the  pseudonym  Boku. 

1538.     Oblong  stand.     L.    gf   in.     Light   reddish   Raku   clay,  heavy  white  underglaze, 
covered  with  thin  green  overglaze.     Upper  sur- 
face, thick    white    glaze   with   gray   and   fawn 
colored  stains,  scaling.   Below,  strong  ribs  cross- 
ing from  opposite  corners. 
Bokusai  zoi,  Temponen  sei  (inc.).  1830 

^539-  Oblong  box-shaped  dish.  L.  3J  in. 
Raku  clay,  heavy  white  underglaze,  thick  green 
overglaze.     Unsigned.  1830 

1540.  Incense-box,  bell-shaped.  H.  2\  in. 
Moulded.  Rich  green  glaze.  Panels  of  scrolls 
and  characters  in  high  relief.  Corner  panels 
gilded.     Unsigned.  1830 

IKICHIRUYA  (Case  14  and  Plate  XI.  1541) 

A  Raku  pottery  was  made  in  Suwa  in 
the  early  years  of  this  century  by  a  potter 
who  was  knovm  as  Ikichiruya.  Examples  of 
his  work  are  exceedingly  rare. 

I54I-  Figure,  mythological  lion  in  heavy 
Raku  pottery,  strongly  modeled.  L.  9J  in. 
H.  6J  in.  Rich  thick  glaze  in  green,  brown, 
and  light  yellow,  blending.  Eyes  red  and  black. 
Unsigned.  1820 

Gift  of  Meiki  Matsuki. 


i^  THE   CATALOGUE 

YUKICHIRUYA   (Case  14  and  Plate  XL  1544) 

Iwanami  Kizan,  being  fond  of  the  tea-ceremony,  learned  the  art  of  making  Raku 
pottery  from  Kichizayemon,  who  chanced  to  be  in  Suwa  in  1840.  A  small  oven  was 
built,  and  various  forms  of  Raku  were  made  for  the  tea-service.  His  pieces  were 
signed  with  the  written  mark  Yukichiruya,  which  was  a  poetical  name  of  his  house, 
or  with  his  pseudonym  Tosd. 


1542.    Tea-pot.     D.  2\  in.     Open  nozzle,  looped  handle  opposite.     Modeled  by  hand. 
Dark  Raku  clay,  rich  pinkish-fawn  glaze  splashed  with 
green.     Rim  and  knob  gilded.     Yukichiruya  (written). 

1840 

1543'  Round  TEA-JAR,  very  thick.  H.  if  in.  Dark 
brown  clay,  robin's-egg-blue  glaze  coarsely  crackled. 
Unsigned.  1840 

1 544-  Square  box.  H.  4  in.  Four  short  legs  at 
corners ;  flat  pottery  cover  with  square  knob.  Coarse 
brick-red  Raku  clay,  thick  white  underglaze,  thin  light 
green  overglaze.  Biwa  fruit  and  leaves  in  black, 
green,  and  yellow.     Toso  tsukuru  (written).  1840 


1542 


TAKATO   (Case  14)  '^'^^ 

In  the  village  of  Takato  a  common  pottery  has  been  made  within  thirty  years 
which  has  some  resemblance  to  Takatori. 

1545'     Flower- HOLDER.     H.  sJ  in.     Dark  reddish   clay,   dull   brown   glaze  with   darker 
streaks.     Light  fawn  overglaze  around  neck,  streaked  with  blue.     Rough  surface.  1870 

KIKKO   (Case  14) 

After  working  at  his  art  in  the  province  of  Suo,  Kikko  moved  to  Susaka,  in  this 
province,  in  1837,  and  made  pottery  quite  unlike  his  former  work.  The  only  examples 
in  the  collection  are  two  shallow  dishes,  one  somewhat  after  Oribe  style,  the  other 
with  decoration  of  flowers.  The  mark  Kikko  is  different  from  his  Osaka,  Suo,  or 
Tokyo  mark. 

1546.  Shallow  plate,  with  rim  lapped  over  on  four  sides.  D.  7^^  in.  Light  brown  clay, 
thick  light  chocolate  glaze  below.  Inside,  cream-colored  overglaze  running  over  rim,  with 
splashes  of  green  glaze.  Decoration  of  grass  in  brown  and  light  red.  Heavy 
spiral  on  bottom.     Kikko  (imp.).  1837 

1547.  Rectangular  tray,  comers  beveled,  broad  flat  rim.  L.  6^  in.  Light 
fawn  clay,  thick  white  glaze,  over-decoration  of  flowers,  dragon,  clouds,  scrolls, 
etc.,  in  yellow,  blue,  green,  and  pink  enamels  outlined  in  black.     Kikko  (imp.). 

1837 


PROVINCE    OF  IWAMI  135 

PROVINCE    OF   IWAMI 

But  little  information  can  be  gleaned  regarding  the  pottery  of  this 
province.  At  the  present  time  only  coarse  kitchen  utensils  and  roofing 
tiles  are  made. 

NAGAMI   (Case  14  and  Plate  XII.  1548) 

Fifty  years  ago  a  potter  by  the  name  of  Nagami  made  a  soft  Raku  pottery  in  the 
form  of  tortoises,  deer,  and  mythological  figures.  These  pieces  show  great  skill  in 
modeling,  and  large  objects  are  extremely  rare. 

1548.  Incense-burner,  in  form  of  sacred  tortoise,  with  Jurojin 
seated  on  cover.  L.  263  in.  Fine  light  gray  clay,  rich  golden- 
yellow  and  golden -brown  glaze,  nearly  black  in  portions. 
Jwami  Kuni  Sangai  San  Ka  Nagami  [.']  kore  wo  tsukuru  (inc.). 
Gift  of  Henry  J.  Bigelow.  ■  1840 

1549'  Incense-burner,  in  form  of  tortoise.  L.  7J  in.  Similar 
to  last.    Iwao  (imp.).  1840 

^55^"  Figure  of  monkey,  with  small  monkey  on  shoulder. 
H.  II  in.  Light  fawn  clay,  dark  gray,  nearly  black  glaze.  Face, 
light  brown,  shaded  with  bright  red  and  black,  hairs  incised. 
Nagamilwao  kore  wo  cho-kokusu  (inc.).  1840 


!!  <•-• 


^^-   1550  iSS'  iss*  1548        >J 

155^*     Figure  of  goat.     L.  5  in.     Light  fawn  clay,  rich  golden-brown  glaze  with  dark 
areas.     Iwao  (imp.).  1840 

1552-  Circular  dish,  moulded  in  form  of  fish.     L.  4f  in.     Dark  red- 
dish Raku  clay  and  glaze.     Iwa  Koshi  (imp.).  1840  .^«<?T 

SEKIYO   (Case  14)  x_}^     SflL 

Within  recent  years  a  potter,  evidently  a  successor  of  Nagami,  J^^      f^ 
has  made  tortoises  and  other  objects  after  the  old  style.     The  work 

is  much  poorer,  and  the  glaze  is  not  good.  |  I   » 

1553-  Tortoise.     L.  7I  in.     Light  fawn  clay,  rich  golden-brown  glaze  • 
with  light  areas.     Sekiyo  Iwayama  (inc.).                                                 1870 


>S<9 


i36 


THE   CATALOGUE 


PROVINCE  OF  SURUGA 

It  is  difficult  to  get  reliable  information  about  the  pottery  of  this 
province.  The  few  pieces  in  the  collection  possess  but  little  merit.  They 
all  seem  to  have  been  made  in  the  town  of  Shizuhata.  The  little  informa- 
tion herein  given  I  got  from  an  old  antiquarian  in  Shizuhata.  In  this  town 
a  kiln  has  been  active  for  sixty  years.  The  pottery  consists  of  a  soft  Raku, 
usually  in  the  shape  of  incense-boxes  and  the  like,  with  brown  and  green 
glazes.     The  brown  glazed  ones  closely  resemble  Ohi,  Kaga. 


SHIZUHATA  (Case  14) 

1 554-  Tea-jar,  with  nozzle  and  handle  roughly  modeled, 
glaze.     Shizuhata  (imp.).  1800 

^555-  Round  box.  D.  2J  in.  Cover  with  Tokugawa 
crest.  Salmon  clay  and  glaze.  Rims  of  box  and  cover 
gilded.     Shizuhata  (imp.).  1850 

I556'  Incense-box  (badger).  D.  i|  in.  Modeled  by 
hand.  Light  brown  clay,  rich  dark  brown  glaze  mottled. 
Shizuhata  (imp.).  i860 

1557-     Incense-box  (turtle).     L.  2\  in.     Fine   light  fawn 
Shizuhata  (inc.).  i860 

1558.     Bowl.    D.  4I  in.    Reddish-orange  clay  and  glaze, 
clouded  with  olive-green  overglaze,  lustrous. 
Shizu  (imp.).  1875 

1559'  Flaring  cup,  square  rim.  D.  3I  in. 
Light  yellow  clay,  with  graining  of  light  brown 
in  clay,  transparent  glaze.     Shizu  (imp.). 

1875  ISS9  ISS7 

1560.  Rectangular  tray.    L.  9J  in.     Flar- 
ing sides,  slightly  scalloped  rim.     Light   fawn  clay  and  glaze.     Inside, 
white  glaze  coarsely  crackled.     Decorations  of   scrolls   and   flowers   in 
various  colors.     Shizuhatayama  no  tsuchi  wo  motte  tsukuru  (imp.).      1820 

This  piece  is  placed  here  provisionally. 

CHIKU-MEI    (Case  14) 

An   amateur    potter,   with    pseudonym   Chiku-mei,    made 
incense-boxes  and  the  like  after  the  style  of  Shizuhata. 

1561.  Incense-box  (in  form  of  Fuji).  D.  \\^  in.  Salmon  clay 
and  glaze,  white  overglaze  running  down  from  top,  representing 
snow.  Fuji  fumoto  no  tsuchi  wo  motte  tsukuru  Chikumeido  (inc.) 
(made  with  clay  found  near  bottom  of  Fujiyama.     Chikumeido). 


H.  2 J  in.     Light  fawn  clay  and 


clay,  thick  light  green  glaze. 


CASE    14 


K^^^n^^^nDfigk 


i*»8'»      J'itf3       'Sft8  i«iJi«  ii^o  itsi  "'>n  1113  I't'f')  ii<ii-  l',^^     )S6z      ''•ay 


I!>"31 


ISZ) 


iyo3       i<,S6        ">■«>'     '*■"''   """<"> 
IS-07       >!>'j8 


IS30  '?!?  Lil? 


IS-/"* 


)jro2         itco 


itni 


I VI 3 


n"i& 


(«-«-/i-r7'"'    <5-i-<?       '"'6 


PROVINCES  OF  BUZEN,    IZUMI,   SHINANO,   IWAMI,   AND   SURUGA 


UNlVtrSlTY   I 


«l..i 


PROVINCE   OF  KII  137 

OTA  (Case  14) 

In  1870  a  potter  by  the  name  of  Ota  Manjiro,  at  the  age  of  seventy  years,  was 
making  sake  cups  in  the  form  of  masks. 

1562.  Large  cup  (mask  form).  D.  64  in.  Light  fawn  clay ;  lower  surface, 
rich  green  glaze.  Inside,  thick  white  glaze,  with  hair  and  eyes  purplish-brown, 
and  mouth  red.     Shizuhata  and  Ota  Manjiro  shichi-ju-o  kore  wo  tsukuru  (imp.). 

1870 
SURUGA  (Case  14) 

Under  the  provincial  name  may  be  placed  the  single  tea-jar  attributed 
to  this  province. 

1563.  Tea-jar,  double  gourd.     H.  2|  in.      Light  reddish  clay,  thick  mottled 


i 


fawn  glaze,  with  mottled-bluish  overglaze  running.  1830  156a 


PROVINCE   OF   KII 

The  pottery  of  this  province  is  widely  known  abroad  through  the  clear 
light  blue  and  other  colored  glazes,  notably  the  yellow,  green,  and  purple, 
with  which  the  western  market  has  been  flooded.  Pottery  similar  to  this, 
though  of  poorer  quality,  has  been  made  elsewhere  in  Japan,  but  the  stuff 
originated  in  Wakayama.     The  early  work  had  considerable  merit. 

KAIRAKUYEN    (Case  15  and  Plate  XIII.  1564,  1567) 

At  Nishihama,  a  little  west  from  Wakayama,  was  the  villa  of  a  former  Daimyo  of 
the  province.  The  garden  of  this  place  was  known  as  Kairakuyen,  and  here,  in  the 
beginning  of  the  century,  an  oven  was  built,  and  pottery  was  made  for  the  tea-service. 
Precisely  what  kinds  were  made  before  the  advent  of  Zengoro  Hozen,  in  1828,  I  have 
not  learned.  With  the  advent  of  Hozen  (the  eleventh  Yeiraku)  it  is  said  an  improve- 
ment took  place  in  the  character  of  the  pottery ;  at  all  events 
the  Daimyo  of  Kii,  in  acknowledgment  of  the  new  glazes 
introduced  by  Hozen,  presented  this  celebrated  potter  with         |^%I 


two  seals,  a  silver  and  a  gold  one,  on  which  were  the  charac-  "^jr  Mm^ 

ters  Kahin  Shiriu  and  Yeiraku  respectively.     Whether  these  B  f#  jK 

were  impressed  on  pottery  made  in  Kairakuyen,  or  were  used  ^n^            ^^ 

after  he  returned  to  Kyoto,  I  have  never  clearly  ascertained.  m^^  ^r 

.^nppimpriQ  thiiQ  Qicrnpri  arp  nlarf^H  wif-Vi  fVif*  fnmilv'Q  u/nrU  nndpr  ^mX^                  ' 


Specimens  thus  signed  are  placed  with  the  family's  work  under 

Ky5to.     Authorities  say  that  on  the  death  of  the  Daimyo,  in 

1844,  the  oven  was  closed.     I  learned,  however,  at  the  place 

that  the  work  continued  until  1868.    The  pottery  is  also  known 

as  Oniwa  (Honorable  Garden),  but  the  name  Kairakuyen  is       ^^ 

retained,  as  all  the  pieces  are  thus  signed.  ^^^^ 

1564.     Fire -VESSEL.     H.  4J  in.     Dull  drab  clay,  Jinko  leaves  1564 


«S8  THE  CATALOGUE 

outlined   in   white   slip   and  glazed    a    light    blue.      Ground,   thick    purplish  -  blue   glaze. 
Kairakuyen  set  (imp.).     Tempo  ju-ichi  nen  Shocho  hodo  ye  (written  in  olive  glaze).  1840 

Type  Ninagawa.     Part  V.,  Fig.  29. 

IS^S-     Haisen.     D.  si  in.    Thick  and  heavy.      Fawn  clay,  light  turquoise-blue  glaze  out- 
side.    Under-decoration  of  waves  in  white  slip.     Inside,  deep  purplish 
glaze  blending  with  blue  on  rim.     Kairakuyen  sei  (imp.).  1830      (^X  i^ 


1566.     Cake-bowl.     D.  6^  in.     Band  of  ,  ^  » 

diaper  perforated  about  rim.    White  stone  »»g 

clay,  light  greenish-blue  glaze.  "IS 

Kairakuyen  sei  (written).  1840  ^ 

1567-     Bowl.     D.  4  in.     Yellowish-fawn      ^  ^J    ^^  ^ 

clay  and  glaze.     Inside,  yellowish-white  ,  "^ 

overglaze.     Outside,  finely  crackled;  in-  '^ 

side,  coarsely  crackled.      Over  -  decoration  of  simple  flowers  in  blue,  exquisitely  drawn. 
Kairakuyen  sei  (imp.).  1830 

A  remarkable  example. 

1568.     Incense-box  (boat).     L.  3  in.     Dark  purple  glaze.     Kairakuyen  sei  (imp.).  1840 

I5D9'     Tea-bowl.     D.  4I   in.     Light  salmon  clay  and  glaze.     Irregular  brush-marks   of 
thick  white  overglaze.     Character  and  fungus  in  light  purple.     Kairakuyen  sei  (^im^.).      1840 
A  curious  example. 

I570'     Bowl.     D.  45  in.     Thick  and  solid.     Fine  drab  clay  and  glaze,  encircling  lines  and 
vertical  zigzag  lines  in  white  Mishima.      Inside,  bands  and  circles  the  same. 
Kairakuyen  sei  (imp.)i  1840      (S>   M^ 

157^-     Bowl.     Same  as  last.     Purple  glaze,  lines  not  filled.  1840 

1572.     Bowl.     D.  3J  in.     White  stone  clay,  white  porcelain  underglaze,  ex- 
posed on  bottom.     Light  blue  overglaze  running  thickly  from  rim.  '57° 
Kairakuyen  sei  (written  in  purplish-blue).                                                           1840 

1573-     Haisen.    D.  7  in.    Flowers,  etc.,  in  white  slip  glazed  purple  and  blue.  1840 

1574'     Jar.     H.  3I  in.     Flowers  in  white  slip.     Purple  glaze.  1840 

1575'     Fire-vessel.    D.  6J  in.    Designs  in  white  slip,  glazed  purple  and  blue. 

All  signed  Kairakuyen  sei.  1840 

1576-  Globular  jar,  with  overlapping  cover.     H.  4J  in.     Dark  brown  clay,  dull  trans- ^ 
parent  glaze.     Kairakuyen  sei  (imp.).  1850 

1577-  Jar-     H.  13I  in.    Thick  and  heavy.     Lathe-marks  strongly  showing.     Coarse  warm 
gray  clay,  roughened  surface,  thick  very  dark  purplish  glaze.     Kairakuyen  and 
Kairaku  (imp.).  1850 

On  top  of  Case  15. 

1578.  Cylindrical  flower-vase.  H.  8 J  in.  Strongly  turned.  Hard  fine 
light  gray  clay,  light  golden-brown  underglaze,  deep  brown  overglaze  running. 
Long  streams  of  light  blue  glaze  flecked  and  running.  Coarse  thread-mark. 
Kairakuyen,  in  double  gourd  (imp.).     A  rare  form  of  mark.  1850 

Gift  of  Frederick  S.  Dickson.  1578 


PROVINCE   OF  KII 


»39 


KAIRAKUYEN   RAKU   (Case  15) 

Records  from  the  Raku  family  show  that  RiySniu  (ninth  Raku)  accompanied 
Zengoro  Hozen  when  he  was  invited  to  Kii.  From  the  same  source  I  gathered  the 
additional  information  that  the  prince  of  Kii  gave  to  Tanniu  (tenth  Raku)  a  stamp  with 
one  form  of  Raku  engraved  upon  it.  The  Raku  signed  Seinei  is  said  to  have  been 
made  by  Tanniu.  The  question  arises  as  to  which  member  of  the  Raku  family  made 
Raku  pottery  in  the  castle  of  Wakayama. 

1579  •  Tea-bowl,  flattened  on  four  sides.  D.  \%  in.  Rough  light  fawn  clay,  transparent 
underglaze.  Thick  dark  brown  overglaze,  coarsely  pitted,  areas  of  underglaze  showing 
through.     Lines  incised  on  sides.     Kairakuyen  set  and  Raku  (imp.).  1840 

1580.  Tea-bowl.  D.  4J  in.  Coarse  gray  clay,  thick  black  Raku  glaze.  Seinei  and 
crest  of  Tokugawa  (imp.).  1840 

1581.  Shallow  bowl.     D.  sf  in.     Coarse  light   pinkish-fawn   clay,  thick  light  reddish 
Raku  glaze  with  greenish-yellow  and  whitish  areas, 
coarsely  crackled.    Seinei  and  crest  of  Tokugawa 
(imp.).  1840 

X582.  Tea-bowl.  D.  4}  in.  Fine  fawn  clay, 
light  red  Raku  glaze  showing  whitish  about  rim. 
Kairakuyen  sei  and  Ya  (imp.).  1840 

1583-     Leaf- SHAPED   dish.     L.  7J   in.     Moulded, 
strongly  scalloped.      Drab  clay.      Outside,  dull  ochre 
lines  incised.     Inside,  shining  overglaze.     Ya  (imp.). 

1584.     Incense-box.     D.  2%  in.     Moulded  in  spiral. 

buff  clay,  coarse  orange-brown   Raku  glaze,  olive -green   in 

portions.     Kairakuyen  sei  and  scroll  (imp.).  1840 


Sides 

glaze, 

1840 

Light 


MEPPOTANI    (Case  15  and  Plate  XIII.  1588) 

The  oven  was  opened  in  the  village  of  Meppotani  in  1790  or  thereabouts.  It  is 
said  that  Mokubei,  of  Kyoto,  and  Heikichi,  directed  the  character  of  the  work,  and 
later  introduced  the  celadon  glazes.  A  great  variety  of  pottery  was  made,  and  the 
influence  of  Mokubei  is  seen  in  the  moulded  forms  and  rich  brown  glazes.  The  work 
is  in  pure  Japanese  style,  and  forms  an  exceedingly  interesting  group  of  pottery.  The 
pieces  are  signed  with  the  impressed,  written,  or  incised  mark  Zuishi. 

1585-     Water-jar.    H.  5!  in.    Drab  clay,  grayish-drab  glaze  strongly  crackled, 
with  houses  in  brown.     Zuishi  (imp.).  1700 

Type  Ninagawa.     Part  VI.,  Fig.  29. 

1586.  Tea-bowl,  irregular.  D.  5  in.  Hard  light  brownish  clay, 
thick  greenish-white  glaze  coarsely  crackled.  Under-decoration  of 
blue  circles  with  greenish  characters.  Strong  basal  ring  notched. 
Zuishi  (written  in  blue).  1790 

1587'     Shallow  dish,  with  snout.     D.  7J  in.     Thick  and  heavy. 
Coarse   drab  clay,  thick  white   glaze.     Over-decoration   of   flowers 
inside  and  out  roughly  drawn  in  red  and  green.    Zuishi  (imp.).      1790 
Mate  to  type  Ninagawa.     Part  VI.,  Fig.  30. 


Landscape 


1583 


1586 


I40  THE   CATALOGUE 

1588.  Hemispherical  bottle.  Diameter  at  base  7  J  in.  Fine  gray  drab  clay,  lustrous 
rich  dark  brown  glaze  with  splashes  of  light  fawn  overglaze  flecked  with  blue,  running. 
Zuishi  (imp.).  lygo 

Gift  of  Thomas  E.  Waggaman. 

1589.  Shallow  tea-bowl.  D.  4f  in.  Light  fawn  clay,  transparent  underglaze,  dull 
light  reddish  Raku  overglaze.     Zuishi  (imp.).  lyoo 

1590-  Incense-box  (bag).  D.  2^  in.  Fine  fawn  clay,  thick  blue  glaze,  scrolls  incised 
and  filled  with  gold.     Cord  in  relief,  light  greenish.     Zuishi  (imp.).  jygo 

1591-  Small  dish.     D.  3^  in.     Moulded.     Sides  strongly  fluted.     Fine 
fawn  clay,  rich  olive -green  glaze,  bluish  overglaze  around  rim. 
Zuishi  (imp.),  lygo 

1592.  Incense-box,  D.  2%  in.  Fluted  crab  in  relief  on  cover.  Iden- 
tical with  last  in  clay  and  glaze.  Crab  in  golden-brown  glaze.  Spurious 
mark  Kenzan  (written).  lyqo 

Mistaken  by  Ninagawa  for  the  work  of  Kenzan, 


1590  I 591 


1593-    Octagonal    ink-stone.     D.   sf    in.     Moulded.    Upper   surface,  scrolls  in  relief. 
White  stone  clay,  light  green  celadon  glaze.     Zuishi  (imp.).  1790 

^594~^598.     Various  forms.    Zuishi  (imp.). 

BUKKADO   (Case  15) 

In    1875   an   attempt   was   made   to   revive   the 
Kairakuyen  glazes.    The  pieces  were  signed  BukkadS. 

IS97 

1599-     Cylindrical  cup,  slightly  flaring  rim.    H.  3J  in. 

White  clay ;  bottom,  dull  white  glaze,  splashed  with  light  blue.    Outside,  purple  glaze,  under 
decoration  of  cranes  in  white  slip,  splashed  with  light  blue  glaze.     Inside,  light 
blue  glaze.     Bukkado  (imp.).  1876 

KISHO   (Case  15) 

Under  this  name  is  included  a  single  specimen  bearing  the  impressed 
mark  of  Kijo  no  set,  which  means  Kii  castle,  Samurai  made. 

1600.     Flower-pot.     D.   4J    in.     Flaring  rim,   under   side   scalloped,   flaring  base   with 

three  semi-circular  spaces.     Sides  with  ornamental  panels,  conventional  scrolls, 

etc.     Fine  drab  clay,  light  bluish  underglaze,  thick  overglaze  running, 

Ktj'o  no  set  (imp.).  1850 


nxi 


1^, 


KOCHI  (Case  15)  '600 

It  is  important  to  distinguish  between  the  raw  bright  green-blue  and  purple 
glazed  pottery,  unsigned,  made  within  twenty  years  in  Wakayama,  and  similar,  though 
brighter  colored,  glazes  made  in  former  times,  known  as  Kairakuyen.  The  present 
pottery  is  known  as  Kochi,  also  as  Bezaiten,  from  the  name  of  the  immediate  place  of 


PROVINCE   OF  KIT       ,  141 

baking  ;  also  as  Shin  (new)  Kairakuyen.  In  1877  the  oven  was  in  charge  of  Okamoto 
Yoshichika,  and  large  quantities  of  pottery  were  being  made  solely  for  export.  The 
potter  had  in  his  possession  the  old  moulds  and  other  appliances  of  the  origmal 
Kairakuyen. 

1601-1607.    Various  forms  of  Kochi  with  rich  blue,  purple,  and  other  glazes.  1880 

OTOKOYAMA   (Case  15) 

The  oven  was  open  in  the  early  part  of  the  last  century.  A  variety  of  pottery  was 
made,  including  blue  and  white  porcelain.  The  work  ceased  in  1830.  In  1850  an 
attempt  was  made  to  produce  typical  Kairakuyen  signed  with  the  mark  Nanki 
Otokoyama.  This  work  shortly  after  stopped.  In  1870  a  new  company  was  formed, 
and  Tanzan,  of  Kyoto,  was  placed  in  charge  of  the  work.  After  a  year's  trial,  and 
failure,  the  oven  was  closed  again.  After  this  the  old  potters  of  Otokoyama  began 
again,  only  to  close  shortly  after  with  loss.  The  sequence  of  the  work  is  as  follows  : 
Blue  and  white,  beginning  of  the  century;  Kairakuyen  style,  1850  ;  Awata-like  bowls, 
under  Tanzan,  1870. 


1608.     Water-jar.     H.  6|  in.     White  porcelain  clay  and  glaze.     Decoration  of  trees  and 

houses   in  blue.     Band  of  fret  above  and  below. 

Nanki  Otokoyama  (written).  1830 

x6og.     Cup.     D.  4  in.     White  porcelain  clay  and  glaze.     Band  of  fret 
above  and  below,  and  Chinese  boys  in  indigo  blue. 
Nanki  Otokoyama  (written).  1830 

1610.  Shallow  dish.     D.  6 J  in.     Moulded.     Light  stone 
clay.      Inside,  scrolls,  flowers,  etc.,  outlined   in   white   slip 
and  glazed  purple.      Ground  light  blue.  ■^'°  **** 
Nanki  Otokoyama  (imp.).                                                      1850 

1611.  Bowl.     D.  4J  in.     Light  fawn  clay,  buff  glaze,  thick  whitish  overglaze  around  rim. 
Over-decoration  of  bats  in  opaque  black.     Nanki  (imp.).     Kairakuyen,  in  red  lacquer. 

1870      ^ 

JkC7 

1612.  Bowl.     D.   4f   in.     Fine   light  fawn   clay   and   glaze.     Over-decoration   of     ^gjj 
flowers  and  grasses  in  various  colored  enamels  touched  with  gold.   Nanki  (imp.).     1870 

l6l3-     Cup-rest.     H.  2%  in.     Modeled  by  hand.     Fine  fawn  clay,  thick  white  glaze  with 
gray  areas.     Designs  and  characters  in  olive-green.     Otokoyama  (written). 

Gift  of  Rufus  E.  Moore. 

This  may  be  one  of  the  earliest  forms  of  Otokoyama. 


Ota   (Case  15) 

In  the  village  of  Ota,  near  Wakayama,  in  1878,  simple  flower-vases  and 
other  objects  were  made.     Ninagawa  figured  some  of  this  work.     It  had  no  special 
merit. 


1 


J42  THE  CATALOGUE 

1614.     Handled  flower-holder.     H.  6  in.    Light  fawn  clay,  pinkish-white  underglaze, 
thick  splashes  of  green,  white,  and  brown  overglaze,  running.  1880 

X6l5-     Flower-vase.     H.  4J  in.     Fine  light  fawn  clay,  brown  underglaze,  thick  white  over- 
glaze  flecked  with  brownish-blue,  running  in  large  scale-like  imbrications.  1880 

NAKUSA  (Case  15) 

A  cheap  kind  of  pottery,  bearing  the  impressed  mark  Nakusa,  has  been  made  in 
Nakusa  district,  KiL 

1616.  Rest  for  cover.    H.  i|  in.    Modeled  by  hand.    Light  soft  clay,  thin  green 
glaze.    Na/tusa  (imp.).  1840 

AKAGI  (Case  15)  '^'^ 

A  pottery  bearing  the  mark  of  Akagi  is  placed  here  provisionally  from  its  general 
resemblance  to  Kairakuyen. 

1617.  Box.  D.  2}  in.  Moulded.  Light  buff  clay.  Flowers  and  scrolls  in  relief. 
Flowers  glazed  deep  yellow,  scrolls  dull  purple.  Ground  light  green.  Inside,  trans- 
parent glaze.    Akagi  (imp.).  i860      1617 


PROVINCE   OF   IGA 

The  pottery  of  Iga  is  very  characteristic.  It  is  extremely  plain,  usually 
undecorated,  and  often  rough  and  primitive  in  appearance.  The  close 
resemblance  between  the  pottery  of  Iga  and  Omi  arises  from  the  similarity 
of  the  clay  used  in  the  work.  The  clay  of  Iga  pottery  is  not  so  reddish  as 
that  of  Omi,  and  in  some  cases  the  material  is  almost  a  clayey-white. 

In  the  village  of  Makiyama  a  serviceable  unglazed  pottery,  in  the  form 
of  kitchen  utensils,  braziers,  and  the  like,  has  been  made  within  twenty 
years.  Examples  of  this  work  are  placed  in  that  portion  of  the  collection 
representing  different  objects  made  in  pottery. 

MARUBASHIRA  (Case  15  and  Plate  XIII.  1640,  1658) 

Pottery  was  made  in  the  village  of  Marubashira  more  than  eight  hundred  years 
ago.  Small  plates  have  been  dug  up  near  the  ruins  of  ancient  ovens.  These  are 
lathe-turned  and  show  the  thread-mark  made  in  separating  them  from  the  lathe.  Six 
hundred  years  ago  rude  flower-vases  were  made  of  the  coarsest  clay,  with  thick 
blistered  glaze  about  the  rim.  Three  hundred  years  ago  the  marks  Iga  and 
Marubashira  were  used  on  the  best  pieces.  The  work  Banipo  Zensho  records  that  tea- 
jars,  water-jars,  flower-vases,  etc.,  were  made  in  large  numbers.  These  resemble 
Shigaraki,  OmL    This  was  in  1 70a    Within  a  hundred  years  a  potter  named  Okamoto 


PROVINCE   OF  IGA 


143 


Johachi  used  the  mark  Iga,  and  at  different  times  since  the  mark  Iga  has  been  used 
by  different  potters.  Among  the  early  forms  are  rough  pieces  called  Geta  Okoshi, 
the  name  arising  from  two  deep  impressions  on  the  bottom  of  the  vessel  resembling 
the  foot  prints  of  the  Japanese  clogs  or  Geta.  The  pottery,  while  still  soft,  was  placed 
to  dry  on  two  pieces  of  wood  resting  parallel  At  present  the  most  common  kitchen 
utensils  are  made  for  the  local  market. 

1618.  Flower-vase.  H.  10^  in.  Thick  and  heavy.  Coarse  gray  stone  clay,  white 
granules  intermixed,  splashes  of  thick  brown  glaze,  running  from  rim,  blistered.  Body 
unglazed.     Very  rudely  made.  1300 

1619.  Rough  flower-holder.  H.  8f  in.  Thickened  rim,  front  depressed  and  cut. 
Coarse  light  fawn  clay  with  light  granules,  thick  greenish  -  white  glaze  with  splashes  of 
brown.     Rudely  made.  1380 

Type  Ninagawa.     Part  III.,  Fig.  i. 

1620.  Jar  for  sprouting  seed.  H.  6^  in.  Thick  and  heavy.  Pottery  cover  and  handles. 
Coarse  light  fawn  clay  with  light  granules,  thin  white  glaze,  large  splash  of  light  green 
overglaze.  1480 

1621.  Wine- bottle.  H.  \\  in.  Roughly  made.  Coarse  light  brownish  clay,  trans- 
parent underglaze,  cream-white  overglaze  with  splashes  of  brown.  1480 

1622.  Flower-vase.  H.  iiJ  in.  Looped  handles.  Roughly  made.  Coarse  light  gray 
clay,  large  white  granules,  splash  of  light  gray  overglaze  with  stream  of  dark  brown.         1580 

1623.  Water-jar.     H.    5f   in.     Pottery   cover  with   looped   handle.      Strongly  turned. 
Coarse  light  drab  clay,  thin  transparent  glaze,  splashes 
of  greenish-white  overglaze.     Iga  no  kuni  and  Maru- 
bashira  mura  (imp.).  1600 

1624.  Water-jar.  H.  6  in.  Pottery  cover,  with 
looped  handle.  Flaring  base.  Side  knobs.  Hexag- 
onal and  cross  marks  impressed.  Clay  and  glaze  simi- 
lar to  1622.  1650 

1625.  Tea-bowl.  D.  sJ  in.  Clay  and  glaze  similar 
to  1623.  1680 

1626.  Plate. 
dented.  Light 
brownish  areas.     Iga  and     ?     (imp.). 

1627.  Jar.     H.  3f  in.     Thin  walls, 
gray  clay,  dull  gray  glaze. 

1628.  Cup-rest.     D.  \\  in.     Thick  and  heavy, 
overglaze. 

1629.  Bottle.     H.  s|  in.     Roughly  made.     White  clay,  thick  greenish-white  glaze.     1680 

1630.  Incense-box  (hut).     H.  2  in.     Modeled  by  hand.     Light  fawn  clay  and  glaze.   1700 

1631.  Cup.     D.  2|  in.     Thick  walls.     Light  fawn  clay,  light  buff  glaze  inside,  splashes  of 

1700 


D.   4I   in.     One   side   in- 
gray   clay   and   glaze   with 
1680 

Light 
1680 


1626 


1623 


Coarse  gray  clay  and  glaze,  dull  brown 

1680 


same  outside. 


144 


THE  CATALOGUE 


163a.    Globular  jar.     H.  sJ  in.    Looped  handles.     Hard  fawn  clay,  transparent  glaze. 
Surface  closely  covered  with  short  raised  white  lines  in  pairs.     Unique  treatment.  1700 

1633.  Jar.     H.  9f  in.     Four  looped  handles.     Light  fawn  clay,  transparent  underglaze, 
brown  overglaze,  with  splashes  of  deep  brown  glaze,  running.  1730 

1634.  Water-jar.     H.  6}  in.     Long  looped   handles.     Light  fawn   clay,  greenish-white 
glaze.     White  granules  on  surface. 
I^35>  1636.     Flower-holders. 
l637»    Incense-box.     L.  3J  in. 
Light  fawn  clay,  transparent  glaze, 

Fine  example  of  modeling. 
1638.     Water-jar.     H.  9J  in. 


1730 

1780 

Section  of  branch  with  cicada  modeled  in  high  relief. 

Insect,  dull  brown  glaze.  1780 

Basket  handle.     Sides  flattened.     Light  fawn  clay,  thick 

1780 


J  639 


Close  encircling  lines. 
Neck  and  shoulder  transparent  and  light  fawn 

1800 


white  underglaze  with  areas  of  reddish-fawn  overglaze.     Inside,  thick  white  glaze. 

1639.  Shallow  bowl.  D.  sf  in.  Finely  cut  encircling  lines  outside.  Fine  light 
brownish  clay.  Outside  unglazed  ;  inside,  fawn  underglaze.  White  overglaze  coarsely 
crackled,  running  over  rim.     Iga  and  ?  (imp.).  1800 

1640.  Tea-bowl.    D.  5  in.    Dull  brown  clay.    Outside,  unglazed,  river-bank  protec- 
tion, waves,  and  birds  outlined  in  white  slip ;  inside,  greenish-gray  transparent  glaze  running 
over  rim  in  long  streams.    Iga  (imp.).  1800 

1641.  Similar  to  1639. 

1642.  Jar,  with  looped  handles.  H.  8  in.  Coarse  brownish  clay. 
Transparent  glaze  about  neck,  shoulder,  and  inside ;  splash  of  white 
overglaze  on  shoulder,  running  in  long  streams  on  unglazed  body. 
Jga  and  Iwa  (imp.).  1800 

X643-     Bowl.    D.  5J  in.    Light  drab  clay,  cream-white  glaze.    1800 

1644.  Bottle.     H.  8J  in.     Hard  light  fawn  clay.     Body  unglazed. 
bamboo  and  chrysanthemums  deeply  incised 
glaze. 

1645.  Little  plate,  four-lobed.     L.  3^  in.     Moulded.    Light  bufi  clay  and  glaze, 
plum  blossoms,  etc.,  in  relief.     Iga  (imp.).  1820 

1646.  Tea-jar.     H.  3!  in.      Light  buif  clay,    thick  deep  purple  glaze,      V^^ 
pitted.     Iga  (imp.).  1830        O 

1047.     Bottle,  pear-shaped.     H.  4I  in.     Rudely  turned.     Light  fawn  clay, 

with  white  granules  intermixed;  large  splashes   of  white,  brown,  and   transparent  glaze. 

Iga  (imp.).  1830 

1648.  Incense-box.     D.  2J  in.     Roughly  modeled.     Coarse   light   fawn   clay,  light  buff 
glaze,  with  streams  of  yellowish-brown  glaze  running  from  top.  1830 

1649.  Water-jar.     Oval.     H.  7  in.     Broad  shallow  groove   running  spirally 
from  base  to  top.     Coarse  buff  clay,  thin  transparent  glaze.     Inside, 
greenish  glass  glaze  running  over  rim.     Iga  (imp.).  1830 

1650.  Incense-box.     Figure  of  Daruma.     H.  2  in. 
dull  reddish  glaze,  face  light  buff.     Iga  yaki  (inc.). 

l65I>    Gourd-shaped  bottle.    Thick  white  glaze. 


Inside, 

1646 


Light  buff  clay, 
1840 


1840 


1650 


164Q 


PRO  VINCE   OF  IGA  145 

1652.  Jar.  H.  3J  in.  Light  gray  clay,  closely  covered  with  thick  drops  of  grayish- 
white  glaze.  1850 

Gift  of  Miss  Lucy  Ellis. 

1653.  Flower-holder.  H.  3J  in.  Plum  blossoms  modeled  and  applied.  Light  gray 
clay  and  glaze,  olive-green  glaze  running  from  rim.  Flowers  touched  with  white  slip  and  thick 
brown- glaze.  1850 

1654.  Incense-box  (fish).  L.  2%  in.  Yellowish-white  clay  and  glaze,  touches  of  olive- 
brown  overglaze.  1850 

1655-  Cup.  D.  Zt'V  '"•  Fine  light  buff  clay.  Inside,  light  buff  glaze ;  outside,  narrow 
vertical  streams  of  thick  white  glaze  on  unglazed  surface.  .       1850 

1656.  Wine-bottle.     H.  6|  in.     Same  as  last.  1850 

1657.  Small  covered  jar.     H.  3!  in.     Fine  light  buff  clay,  thick  white  glossy  glaze, 
coarsely  crackled,  thick  purple  overglaze,  running  in  long  streams. 
Jga  and  Ko  \ju  ?]  (imp.).  1850 

1658.  Single  flower-holder.     Pomegranate  with  rupture  on  side  exposing  seed. 
H.  2^  in.     Whitish  clay,  thin  light  olive-green  glaze;  seeds  stained  ochre.  1850 

1659*.     Dish  for  condiments.   W.  9  in.    Yellowish  clay  and  glaze.    Cylindrical  tube 
with  red  lacquer  rim,  for  chop-sticks,  with  three  vessels  adhering.    One  in  shape  of  jar      1657 
with  roughened  surface  unglazed ;    one  in  form  of  Haliotis  shell ;   one  in  form  of 
bowl  with  perforated  diaper  about  rim.     Iga,  Hosokawa  Masatsugu  (inc.).  i860 

This  object  shows  the  work  of  a  clever  potter. 

TOKUSAI  (Case  15  and  Plate  XIII.  1665) 

In  the  early  part  of  the  seventeenth  century  a  skilful  potter  was  at  work  in  Iga 
making  bowls,  tea-jars,  and  similar  pottery  for  the  tea-ceremony.  He  used  the 
impressed  mark  Tokusai,  and  possibly  Tokuhin.     The  work  is  very  rare. 

1665.     Tea-bowl.     D.  4}  in.     Strongly  turned.     Reddish  clay,  splash  of  light  green  glaze 

inside  and  out.     Thick  basal  ring,  notched. 

Tokusai  (imp.).     Mokumoku  an  (written  in  brown).  1620 


X 


1665 


1666.     Tea-bowl.      D.  4J  in.      Hard  fawn  clay  and  glaze,  thick  greenish-white  overglaze 
Straw  and  pine  decoration  in  dark  gray.     Basal  ring,  notched.     Tokuhin  (imp.).         

ni 


ac  i6i;o 

1007.     Similar  to  last. 

These  two  bowls  were  identified  as  Kyoto,  but  as  they  bear  a  strong  resemblance 

to  Iga  in  clay  and  glaze,  they  are  placed  with  Tokusai  provisionally.  ^         1666 


s? 


146  THE   CATALOGUE 

SHINJIRO   (Case  15  and  Plate  XIII.  1668) 

A  contemporary  of  Tokusai,  known  as  Shinjiro,  attained  great  repute  as  a  potter. 
His  tea-jars  were  signed  with  the  incised  mark  Shin  or  Shinjiro.  Bowls  strongly 
resembling  Hagi  pottery  were  also  made  by  him.  Those  having  thick,  running  light- 
blue  glaze  with  a  drop  of  glaze  inside  the  basal  ring  were  considered  best. 

1668.  Tea-bowl.     D.  4  in.     Uneven  rim.    Thick  walls.     Coarse  light  brown  clay,  very 
thick  greenish-drab  glaze  strongly  flecked  with  light  blue,  drop  of 
same  glaze  on  bottom.    Kio  (imp.).  1620 

1669.  Tea-jar.     H.  3I  in.     Light  reddish-brown  clay,  splash  of 
rich  golden-brown  glaze.     Roughly  made.     Shin  (imp.).  1620       /v|^ 

TOTEI  (Case  15)  '^ 

Within  recent  years  a  potter  of  Marubashira  has  made  small  objects,  signing  his 
work  with  the  written  mark  Totei. 

1670.  WiNE-ctn>,  bell -shaped.     H.  i|  in.     Moulded.     Light 
buff  clay  and  glaze.     Inscription  in  black.   Totei  (written).     1850       ^     jfe 

1671.  Squat  jar.     D.  2|  in.     Fine  light  drab  clay,  glistening      ^ 
cream-white  glaze.     Brown  rim.     Crest  in  brown. 
Totei  (written).  1850  , 

1672.  Dish,  leaf  shape.    D.  5I  in.  Moulded.    Iga  (imp.),   i860 

IGA  (Case  15  and  Plate  XIII.  1676) 

Under  the  provincial  name  Iga  are  included  the  tea-jars  of  the  province. 

l674-     Tea-jar,  globular.      H.  2|  in.     Solid  and  heavy.     Light  brown  clay,  dark  brown 
glaze  flecked  with  black,  splash  of  light  fawn  and  golden-brown  overglaze.  1630 

1676.     Tea-jar.     H.  3,^  in.     Fine  drab  clay,  rich  brown  glaze,  area  of  light  golden-brown 
overglaze.  1650 

Type  Ninagawa.     Part  III.,  Fig.  3. 

l679'    Tea-jar.     H.  3  in.     Light  brown  clay  and  glaze,  mottled  with  dark  brown,  splash  of 
thick  greenish-white  overglaze  crackled.     Rosettes  impressed  around  shoulder.  1680 

1680.  Tea-jar.     H.  3I  in.     Fine  light  brown  clay,  mottled  light  brown  glaze,  nearly  black 
overglaze  running.     Diamond-shaped  areas  impressed  near  base.  1680 

1681.  Tea-jar.    H.  3^  in.    Light  fawn  clay,  deep  yellow  glaze,  narrow  splashes  of  deepest 
brown  overglaze.  1680 

1682.  Tea-jar.     H.  2J  in.      Light  fawn  clay,  thick  white  glaze,  coarsely  crackled,  run- 
ning into  thick  bottle-green  drops  below.  1680 

1683-1698.    Tea-jars.  1680-1750 

1699.     Tea-jar.     H.  3^  in.     Thick  and  heavy.      Encircling  and  vestical  grooves.     White 
clay,  lustrous  light  olive-green  glaze,  shading  into  olive-brown.     Iridescent.  1780 


CASE    IS 


ifeosr 


IS-68       Ttoi         /600      lb' Sri        IS'SS  liTJfl     ISSI      TslTo       Ibll    1613   /60?    jtn 


ls-70 


IS- 67 


IS"»b" 


li-66  li"72. 


JVSg 


]i'9o 


/ S       \. 


tA)  ^^^"i:::^  /  ■^^'  U 


1611  <£>34-  )6  2.3 

'Ml^      l&fcy        1666 


^^^S/. 


1667 


I6V7    ^  162b- 


IbXH 


7^^^ 


16V& 


j^^^      /53 


l'^1638  ; 


(611       IfaKb    Itav  1697    1676  '683     '637      (647 


'«>-f 


^■^- 


IGS*? 


/62.0 


163^ 


1632. 


\\l<J6         1639  t67b-     l68J.'^,6l    /^  Ib79)69<,  '^9f 


li696 


167V  1686    I&77 


ItrV    lbS-0    16*14-  1630/670     167/ 


PROVINCES  OF   KII   AND   IGA 


^VnUv) 


PROVINCE   OF  TOTOMI  147 

PROVINCE   OF   TOTOMI 

The  pottery  of  this  province  up  to  within  recent  years  has  rigidly 
adhered  to  the  traditions  of  the  tea-cult.  It  is  absolutely  without  decora- 
tion. Simple  forms,  quiet  autumn  browns  and  yellows  for  colors  of  glaze, 
with  surfaces  like  the  inside  of  a  nutshell,  are  among  the  characteristics  of 
this  pottery.  I  have  been  unable  to  get  records  of  the  individual  potters, 
though  there  must  have  been  many  of  them,  as  the  work  covers  at  least 
three  centuries.  Yet,  with  rare  exceptions,  the  pottery  bears  only  the 
impressed  mark  Shidoro. 

SHIDORO   (Case  16  and  Plate  XIV.  1708,  1710,  1711,  1734,  1738) 

Pottery  known  as  Shidoro  has  continued  to  be  made  since  the  time  of  Tokugawa 
lyeyasu.  Records  show  that  this  wise  Shogun  wrote  to  Enshu,  of  Shidoro,  in  1589, 
giving  him  permission  to  make  pottery,  and  from  that  time  to  the  present  the  mark 
Shidoro  has  been  used.  As  a  matter  of  fact  the  oven  was  estabhshed  at  Yokuoka 
village,  not  far  from  Shidoro,  where  the  pottery  had  been  made  in  ancient  times. 
The  older  forms,  as  in  so  many  instances,  are  the  finest,  the  latest  specimens 
being  very  poor.  The  only  mark  I  have  ever  seen  associated  with  Shidoro  is  that  of 
Tetsugi.  This  is  found  on  a  slender  tea-jar  with  an  age  of  forty  or  fifty  years.  Many 
years  before  the  time  of  Enshu  a  pottery  was  made,  bearing  an  impressed  mark 
which  has  never  been  deciphered.  Old  books  publish  the  mark,  and  Tokiko  repeats  it 
with  little  resemblance  to  the  original.  The  only  two  specimens  of  which  I  have  any 
record  are  in  the  collection.  Ninagawa  confessed  to  me  that  he  had  never  seen  a  speci- 
men, nor  had  he  heard  of  the  existence  of  one.  Recent  Shidoro  covers  two  distinct 
types  :  the  one  in  the  form  of  thin  double  gourd-shaped  wine-bottles  with  medallion 
decoration  in  black,  unglazed  or  partially  glazed  with  transparent  green  ;  the  other  con- 
sisting of  heavy  forms  of  deep  cups  or  double  gourd-shaped  bottles  with  bright  orange 
and  green  glaze  intermixed.     These  latter  bear  the  impressed  mark  Shidoro. 

1706.     Jar.     H.  8}  in.     Four  looped  handles.     Fine  gray-drab  clay,  rich  light  brown  Seto 
glaze,  large  irregular  splashes  of  golden-brown  glaze. 
Mark  indecipherable.  1500 


1707.  Jar.     H.  II  in.     Similar  to  last.    Mark  indeci- 
pherable. 1500 

Gift  of  Thomas  E.  Waggaman.  '7o6  1707 

1708.  Jar,  wide  mouth.    H.  2|  in.    Reddish-brown  clay,  transparent  underglaze,  splashes  of 
light  fawn  and  olive-brown  overglaze.     Rosettes  impressed  on  shoulder.  1670 

Type  Ninagawa.     Part  III.,  Fig.  15. 

1709.  Shallow  tea-bowl.      D.  sf  in.      Dull  ochre  clay,  warm  brown  glaze,  nearly  con- 
cealed by  thick  ochre  glaze.  1680 


148 


THE   CATALOGUE 


Z710.     Comfit-bottle.     H.  2^^^  in.     Fine  dark  drab  clay,  transparent  underglaze,  flecked 
with  ochre  glaze,  rich   lustrous  dark  brown  overglaze  running  from  neck. 
Shidoro  (imp.).  1720 

Type  Ninagawa.     Part  III.,  Fig.  16. 

1711.     Wine-bottle.     H.  6f  in.     Fine  fawn  clay,  rich,  thick  dark  ochre  glaze,  with 
light  brown  showing  through  in  spots.  •  1730 

An  exquisite  example. 

X712.     Roughly  turned  jar.     H.  4f  in.     Dull  brown  clay  and  glaze. 


1710 

1730 
1730 


17^3'     Wine-bottlk,  in  form  of  bag.     H.  7!  in. 

I7I4-     Double  gourd-shaped  bottle.     H.  7J  in.    Thick  and  heavy.    Grayish-brown  clay, 
dark  ochre  glaze,  thick  greenish  seal-brown  overglaze  around  upper  part.  1730 

I7I5'     Incense-burner.    D.  2|  in.     Brown  clay,  thick  ochre  glaze.  1750 

I716.     Incense-box,  tortoise  shape.     L.  3f  in.     Gray  clay,  dull  ochre  glaze,  lustrous  dark 
brown  and  light  fawn  glaze  on  back. 

I7I7'    Tea-bowl.     D.  4  in.     Ochre  clay  and  glaze.     Shidoro  (imp.) 

I718.     Jar.     H.  5I  in.    Light  gray  clay,  light  ochre  glaze,  narrow 
streams  of  brown  overglaze.     Shidoro  (imp.).  1780 

I7I9'    Hanging  flower -holder,  moulded  in  form  of  cicada. 
H.  i\  in.  1780 

1720.    Tea-bowl.     D.  4J  in.     Sides  indented.     Brown  clay  and 
glaze,  irregular  splashes  of  thick  ochre  glaze.     Shidoro  (imp.). 

2j    in 


1780 

1780 

fS 

I7I8 

I 

1720 

1780 

Dull    ochre    clay    and    glaze,   finely    mottled    with  brown. 

1800 


IF 

r^ 

/o« 

<cs» 

i 

i 

I72I 


1722 


1721.  Cup.      D. 
Shidoro  (imp.). 

A  beautiful  example. 

1722.  Water-jar.  H.  jf  in.  Cover  with  looped  handle,  sides  undu- 
lating. Ochre  clay  and  glaze.  On  one  side  splash  of  greenish-ochre  glaze. 
Shidoro  (imp.).  1800 

1723-     Pentagonal-shaped  dish.     D.  3I  in.  1820 

1724.  Tea-bowl.     D.  i\i  in.    Fine  drab  clay,  ochre  glaze  with  streams  of  light  olive-brown 
overglaze.     Shidoro  (imp.).  1820 

A  remarkably  fine  example. 

1725.  Wine-bottle,  neck  twisted.     H.  6  in.      Light  brown  clay  and  glaze,  mottled  with 
ochre  glaze,  rich  lustrous  brown  glaze  running  from  neck.     Shidoro  (imp.).  1820 

1726.  Jar.     H.  2|f  in.     Fine  warm  gray  clay,  rich  light  brown  glaze. 
Shidoro  and  Tetsuji  (imp.).  1830 

1727.  Tea-bowl.  D.  3J  in.  Sides  indented,  cut  down  and  lapped,  with  knobs. 
Light  brown  clay  and  glaze,  flecked  with  light  fawn  running  into  deep  brown  over- 
glMC.     Shidoro  (^m^:).  1830     1726 


r 


PROVINCE    OF  HARIMA 
1728— 1732.     Beaker,  hanging  klower-holder,  and  bowls.    Shidoro  (imp.). 

1733'  Bowl.  D.  3^  in.  Dull,  dark  fawn  clay,  light  brown 
glaze,  with  dashes  of  light  fawn  overglaze.  Decoration  of  kiri- 
mon,  strongly  impressed.     Shidoro  (imp.).  1850 


149 

1830-1850 


173' 


'733 


tut. 

1736 


1734.     Wine-bottle,  neck  strongly  twisted.    H.  7^  in.     Dark 

ochre  clay,  yellowish-ochre  glaze,  with  dashes  of  rich  dark  green      1731  1733 

and  golden-brown  over-glaze.     Unsigned.  1850 

^735-  Wine-bottle,  double  gourd-shaped.  H.  6J  in.  Buff  clay,  with  splashes  of  deep 
yellow  and  rich  green  glaze.     Shidoro  (imp.).  i860 

1736'     Deep   cup,   rim   indented.     H.   3^    in.     Buff   clay,   transparent 
glaze.     Rich  dark  yellow  and  green  overglaze  running.      Shidoro  (imp.). 
Type  Ninagawa.     Part  VI.,  Fig.  4.  i860 

^737 •     Wine-bottle,   double   gourd -shaped.     H.   8J   in.      Thin   walls. 

Light  gray  clay.      Figures   of  flowers,   scrolls,  etc.,  in   dull   seal-brown,       173S 

on  unglazed  surface.     Unsigned.  i860 

1738'  Wine-bottle,  double  gourd-shaped.  H.  7^  in.  Grayish-white  clay,  emblems,  etc., 
in  circles  in  seal-brown,  splashes  of  glistening  light  olive-green  glaze  on  body.  Light  green 
glaze  on  neck.  1870 

Type  Ninagawa.     Part  VI.,  Fig.  5. 

The  tea-jars  of  Shidoro  are,  for  the  most  part,  identical  in  clay  and  glaze  with  the 
pottery  already  described.  A  few  might  be  mistaken  for  some  forms  of  Takatori, 
but  the  pieces  are  usually  thick  and  heavy.  Some  are  glazed  with  velvety  seal-brown, 
and  one  tea-jar  is  signed  with  the  impressed  mark  Shidoro. 


I739-I756.     Tea-jars. 


1600-1780 


^757-     Tea-bowl.     D.  5I  in.     Thick  and  heavy.    Dull  brown  clay,  rich  brown  glaze,  with 
splashes  of  olive-green  and  greenish-fawn  overglaze.     Unsigned.  1700 

This  is  placed  here  provisionally. 


PROVINCE   OF   HARIMA 

The  pottery  of  this  province  is  most  characteristic.  Surrounded  as 
Harima  is  by  provinces  famous  for  their  pottery,  such  as  Bizen  on  the 
south,  Tamba  on  the  west,  Settsu  on  the  north,  Yamashiro  but  a  few 
leagues  away,  and  Awaji  just  off  the  coast,  it  is  somewhat  remarkable  that 
up  to  within  a  few  years  its  pottery,  with  the  exception  of  that  of  Tozan, 
has  remained  unaffected.  Indeed,  one  has  to  go  four  hundred  miles  north 
to  find  the  nearest  approach  to  it.     The  pieces  are  readily  identified,  as 


ISO  THE   CATALOGUE 

most  of  the  work  bears  a  mark  of  some  kind,  though  sometimes  two  marks 
are  combined  on  one  piece  in  a  puzzling  manner. 

AKASHI   (Case  i6  and  Plate  XIV.  1760) 

Akashi  pottery  is  said  to  have  been  first  made  by  Seisuke,  a  pupil  of  Ninsei.  The 
oldest  specimens  in  the  collection  date  back  over  two  hundred  years.  The  early 
work  is  superior  in  every  way  to  the  more  recent  products,  and  bears  evidences  of  a 
skilful  hand. 

A  bucket-shaped  piece  bearing  the  mark  Akashi  was  identified  by  Ninagawa  as 
the  early  work  of  Seisuke  while  still  with  Ninsei  as  a  student.     See  Cata-      ^-^ 
logue,  No.  3083.  m3o)| 

1759-     Cake -PLATE.      D.  6  J   in.      Flaring  edge  with   three   equidistant  folds.       V^^' 
Fine  light  fawn  clay,  coarse  crackle,  stained.    Bamboo  in  gray.  Akashi  Qxwp?).    1700        '759 

1760.     Haisen.     L.  7^  in.     Curved  handle  on  one  side.     Elephants,  bands,  knobs,  etc.,  in 
high  relief  applied.   Grayish-drab  clay.    Handle,  elephants,  bands,  and  in- 
terior, rich  dark  green  glaze  running  into  black.    Akashi-ura  (imp.).    1 700      /^"qV 


I761.     Bowl.     D.  2|  in.     Thick  and  heavy.     Fine  brown  clay,  light 


^ 


V^ 


gray  glaze,  finely  crackled.     Strongly  turned,  sliced,  and  indented. 
Akaura  and  Kigetsu  an  (imp.).  1700 

1762.    Wine-bottle,  square.     H.  8J  in.     Moulded.     Yellowish-olive-       TtCo 
brown  clay  and  glaze.     Tree,  scrolls,  etc.,  in  high  relief.  1800 

17^3'  Flower-holder.  H.  4f  in.  Moulded  in  form  of  flattened  ring  standing 
on  edge  with  circular  base  and  small  neck.  Yellowish-olive-brown  clay  and  glaze. 
Surface  closely  covered  with  flowers  in  relief.  1830        '761 

X764-     Diamond-shaped  dish.     L.  3J  in.     Moulded.     Gray-drab  clay,  grayish-drab  glaze 
inside,  running  over  rim.     Inside,  scrolls.     Cloth-mark  below.     Akashi  Minato  (imp.). 

1840      Jm 

1765*-     Tea-cup.     D.  2-^  in.     Light  brown  clay,  gray  glaze,  spotted.     Inside,  thick       5 
white  overglaze,  with  brush-mark  of  same  on  the  outside.     Akashi  and  Mikuni  (imp.).      (S 

i860      '7^4 

RYOSHI  (Case  16  and  Plate  XIV.  1766) 

Pottery  bearing  the  mark  Ryushi  is  identified  as  having  been  made  in  the  village  of 
Akashi  in  1 730  or  thereabouts. 

1766.     Fire-vessel,  octagonal.     H.  3  in.     Thick  and  heavy.     Hard   light  reddish 
clay,  fawn  glaze.     Fret,  diaper,  rude  flowers,  etc.,  in  brown.     Ryushi  (imp.).         1730 

Exceedingly  rare.  ^"7? 

ASAGIRI   (Case  16) 

An  antiquarian  in  Harima  declares  that  the  mark  Asagiri  is  one  of  the  oldest  in 
Harima.     The  pottery  is  said  to  have  been  in  existence  since  1700.     The  appear- 


PROVINCE   OF  HARIMA  151 

ance  of  the  specimens  thus  signed  does  not  bear  out  this  statement.  Some  forms 
resemble  Awata.  The  place  is  about  two  miles  distant  from  Akashi,  near  the  Nakatani 
Mountains. 

1767.  Cake-plate.  D.  6  in.  Flaring  edge,  slightly  crenulated.  Drab  clay,  light  fawn 
glaze.    Inside,  formal  designs  in  brown.    Asagiri  i^nv^.).    1700 

1768.  Cake-dish.  D.  6  in.  Rim  with  four  deep  scallops, 
indented.  Drab  clay,  yellowish-white  glaze.  Inside,  sprays 
of  flowers  and  leaves  in  brown.     Asagiri  (imp.).  1750 

1769.  Tea-bowl.  D.  4J  in.  Coarse  brownish  clay,  dark 
gray  glaze,  lighter  gray  around  rim.     Asagiri  (imp.).         1830 

1770.  Cake-dish,  octagonal.  D.  8  in.  Moulded.  Thick  walls.  Light  fawn  clay  and 
glaze.  Panels  of  diapers  and  various  designs  coarsely  impressed,  with  large  areas  of  green 
and  brown  glaze.     In  centre,  deep  blue  glaze.     Roughly  made  and  in  poor  taste. 

Asagiri  (imp.).  1830 

WAFUKEN   (Case  16) 

The  first  potter  using  the  mark  of  Wafuken  was  named  Hashimoto.  He  came 
from  the  town  of  Akashi  in  1740,  and  built  an  oven  in  Maiko,  using  a  sandy  clay, 
and  signing  his  pieces  with  the  impressed  mark  Wafuken,  and  sometimes  with  the 
additional  mark  Maiko.  After  two  generations,  a  priest  by  the  name  of  Maisen  (see 
Hoyen)  carried  on  the  pottery  for  a  while,  when  the  Hashimoto  family 
agaui  assumed  control  of  the  work,  and,  since  the  resumption,  four  gen- 
erations have  succeeded.  The  present  potter  is  Takada 
Chiyomatsa 

'VJ'JX.  Boat-shaped  dish,  with  partitions.  L.  9  in. 
Modeled  by  hand.  Light  brown  clay,  warm  gray  glaze 
mottled  with  brown.     Wafuken  and  Maiko  (imp.).      1800 


1772  .    Chopstick-holder.     L.  si  in. 
Wafuken  and  Maiko  (imp.). 


x8oo 


1772 


1771 


HOYEN    (Case  16) 

Pottery  signed  Hoyeti  was  made  by  a  Buddhist  priest  named  Maisen.  The  work 
bears  evidences  of  his  skill  as  a  potter.  He  succeeded  to  the  oven  of  Hashimoto  (see 
Wafuken)  in  1790-18CX).  His  work  while  following  the  models  of  Maiko  was  far 
superior  to  them.  Mr.  Matsuki,  to  whom  I  am  indebted  for  much  information  on 
Harima  potters,  has  suggested  an  ingenious  explanation  in  regard  to  the  pseudonym 
Hoyen  used  by  Maisen  in  signing  his  work.  The  sobriquet  for  Buddhist  priests  is 
Yencho  H5-ho,  referring  to  their  appearance,  Yencho  meaning  round  head,  and  Ho-ho 
square  robe.  By  taking  the  first  character  of  each  word  the  name  Hoyen  is  derived. 
Maisen  was  a  teacher  of  flower  arrangement  and  of  the  tea-ceremony,  and  in  these 
professions  developed  refined  tastes.  His  pottery  was  considered  unique  and  was  highly 
admired. 


»S2 


THE  CATALOGUE 


"^nZ-    Rough   boat-shaped  dish.     L.  7I  in.     Coarse  brown  clay,  thick  greenish-gray 
glaze  mottled  with  brown,  portions  flecked  with  blue.     Hoyen  (imp.).  1800 


1774.    Tea-jar.     H.  2fV  in. 
ish-brown  overglaze. 


Rich  brown  clay,  olive-brown  glaze  mottled,  splash  of  green- 

1800 


^77S     Cake-dish  (bat-shaped  ?),  supports  in  the  form  of  pine  cones, 
brown  clay,  light  grayish  glaze.     Maiko  and  Hoyen  (imp.).     1800 

177^*  Cake-dish,  shape  of  roofing  tile  (imbrex).  L.  7J  in. 
Gray -drab  clay  mottled  with  brown,  transparent  glaze  richly 
mottled  with  brown.     Hoyen  and  crest  (imp.).  1800 

1777-  Incense-box  (pine  cone).  L.  2^  in.  Light  gray  clay, 
dash  of  transparent  glaze  on  top,  mottled  with  brown ;  light  blue 
in  portion.     Maiko  and  Hoyen  (imp.).  1800 

MAIKO   (Case  16  and  Plate  XIV.  1778) 


W.  8^  in.     Grayish- 


1775 


1776 


The  origin  of  this  pottery  dates  from  the  middle  of  the  last  century.  The  clay  is 
usually  grayish  in  color,  the  glaze  olive-brown  or  gray  mottled  with  brown  dots.  Many 
of  the  pieces  are  modeled  by  hand,  and  are  in  the  form  of  dishes  with  crenulated 
edges,  leaf-like  forms  of  irregular  contour,  etc.  The  pottery  is  unique  in  many  ways. 
Within  recent  years  there  has  been  made  some  pottery  after  Awata  style,  which  is, 
however,  without  merit. 

1^^^^     boat -shaped   dish,   with   handle.     L.   7    in.     Moulded.     Fawn   clay  and  glaze. 
Flowers  and  leaves,  fluting,  etc.,  in  relief.     Maiko  (imp.).       1750 


1778 


1779 


I 


1780 


1779-     Shallow  plate.     D.  3J  in.     Moulded.     Gray-drab  clay 
unglazed.     Radiating  design  in  centre  inclosing  character. 
Maiko  (imp.).  1780 

1780.  Cake-dish,  leaf-shaped,  with  fruit  at  one  end.  L.  9J  in. 
Light  drab  clay,  light  gray  glaze  spotted  with  brown,  dash  of  rich 
brown  glaze  on  fruit.     Maiko  (imp.).  1800 

1781,  Cake-dish,  edge  crenulated.  D.  9J  in.  Dark  drab  clay,  fawn-colored  glaze,  splash 
of  light  green  and  white  overglaze.  Inside,  flowers  modeled  and  applied,  covered  with  white 
slip.     Maiko  (imp.).  1800 

1782*,  1783.    Cake-dishes.     1783  unsigned.  1800 

1784*     Small  cup.     D.  2  yV  in.     Modeled  by  hand.     Drab  clay ;  cream-white  underglaze 
flecked  with  golden-brown,  light  blue,  and  yellow ;  transparent  overglaze.    Maiko  (imp.).    1800 
A  unique  example. 

1785.  Cup,  modeled  in  form  of  cuttlefish.      D.  3J  in.     Unsigned.  1820 

1786.  Incense-box  (bird).     L.  i\  in.     Drab  clay  with  brick-red  areas,  splashes  of 
thick  light  gray  glaze  on  back.     Maiko  (imp.),  1820 

1787'     Two  SMALL  PLATES.     Moulded,  unglazed.     Rosette  in  centre.  1820       1787 


PI 
v." 


PRO  VINCE   OF  HARIMA 


153 


1788 


1788*.     Bowl.     D.  4^  in.     Strong  right-hand  spiral  on  base.     Maiko  (imp.). 

1789.     Water-jar.     H.  6J  in.     Modeled  by       

hand.  Light  reddish  -  brown  clay,  light  gray 
glaze  showing  pinkish  tinges  closely  spotted 
with  brown.  Boat  sails,  etc.,  in  white  slip. 
Maiko  (imp.).  1830 

1790— 1795.    Various  forms,  signed  Maiko. 

1830-1840 

1796.  Wine-bottle,  attenuated,  double  gourd-shaped.    H.  9  in.    Modeled  by  hand, 
clay,  greenish-drab  glaze  thickly  flecked  with  brown.     Characters  in  thick 

white  slip.     Unsigned.  '^4° 

1797.  Incense-box  (duck).      L.  2}^  in.      Light  gray  clay,  thick  cream- 
white  glaze,  bill  tinged  with  brown.    Maiko  (imp.).  1840 

A  unique  example. 


1830 


1798.*     Brush-holder.    Maiko  (imp.). 


1850 


1798 


1800 


1800-1805.     Various  forms. 

1800,  1801,  1805*,  Maiko  (imp.)  ;  1803*,  1804*,  Maiko  (written  in  white  slip). 


850 


,"k 


/ 


IT 


1801 


i860 


1807 


1803  .1804 

1806.     Dish  for  condiments,  in  form  of  shells  delicately  moulded.     L.  5  in. 
1807?  1808.     Cup-rest  and  cup.     Maiko  (imp.).  i860 

1809.  Tea-bowl.  D.  4^  in.  Strongly  turned.  Grayish-brown  clay, 
olive-brown  glaze,  mottled  with  brown  ;  streaks  of  bluish-white  overglaze. 
Maiko  (imp.). 

1810*,  1811*.     Dishes.     Maiko  (imp.).  1870 

1812.  Covered  JAR.     H.  2^in.  1870 

1813.  Wine-bottle.  H.  6f  in.  Tree,  torii,  houses,  figures, 
etc.,  rudely  modeled  by  hand  and  applied.  Drab  clay  and  glaze 
mottled  with  brown.     Maiko  (imp.).  1875 

1814-  Wine-cup,  wine-glass  form.  D.  2|  in.  Light  yellow- 
ish clay  and  glaze.  Fern  and  flowers  in  brown,  blue,  and  white. 
Maiko  (imp.).  1875 

1815-  Beaker.     D.  2{[  in.     Similar  to  last.  18S0  iSu 


1805 


i860 


I8IO 


1813 


154  THE  CATALOGUE 

SOHEI    (Case  i6) 

Pottery  bearing  the  mark  of  Sohei  is  said  to  have  been  made  by  Sohei  Ikasa 
in  1799.  At  present  a  descendant  of  the  family,  named  Ikasa  Hiyakutaro,  continues 
the  work. 

I816.  Beaker,  irregular  form.  D.  5^  in.  Drab  clay,  large  splashes  of  greenish-white  glaze, 
running  in  thick  drops.     Sohei  and  Asagiri  (imp.).  1800 

l8l7<  Tea-bowl.  D.  4I  in.  Coarse  brown  clay,  thick  greenish- 
gray  glaze,  with  lighter  overglaze  about  rim.  Strong  basal  ring 
deeply  notched.     Sohei  and  Maiko  (imp.).  1800 

1818.  Tea-cup.  D.  2J  in.  Drab  clay,  dull  light  brown  glaze, 
spots  of  fawn-colored  overglaze  outside,  running  light  bluish  glaze 
inside.     Basal  ring  notched.     Sohei  (imp.).  1820        ,8,g  ,3j. 

l8ig.     Shallow  tea-bowl.    D.  5}  in.     Modeled  by  hand.     Drab 

clay,  lustrous  brown  glaze,  strongly  flecked  with  dark  brown.     Sohei  and  Maiko  (imp.).    1870 

TOTOKEN   (Case  16) 

This  pottery  is  not  so  old  as  that  of  Wafuken,  and,  when  it  was  first  made,  was 
regarded  as  an  imitation  of  Wafuken. 

1820.  Incense  -  BURNER,  in  form  of  house  with  slatted  windows,  modeled  figures,  etc. 
L.  9  in.  Cream-white  clay  and  glaze,  portions  of  house  with  rich  chrome-yellow,  green,  and 
purple  overglazes.     Totoken  (imp.).  1840 

1821.  Haisen,  form  of  well.    W.  5J  in.    Clay  and  glaze  same  as  last. 
Totoken  (imp.)*  1850 

1822*.     Haisen.     D.  55  in.     Grayish -drab  clay,  olive -brown  glaze, 
flecked  with  brown.     Totoken  and  Maiko  (imp.).  1850 

1823.  Haisen,  in  form  of  well.  W.  5  in.  Drab  clay  and  glaze  flecked  with 
brown.  Inside  thick  masses  of  white,  green,  and  brown  overglaze.  In  bottom 
turtle  modeled  and  applied.     Totoken  and  Maiko  (imp.).  1850 

SUMA   (Case  16) 

A  modest  gray  or  light  brown  pottery  in  the  form  of  bowls,  cups,  etc.,  bearing 
the  mark  of  Suma,  was  made  in  a  village  of  that  name  about  five  miles  from  Akashi. 
Examples  are  not  common. 


7|] 

1821 


Drab  clay  and  glaze. 


1825.  Tea-cup.     D.  2i  in 
cup.     Suma  (imp.). 

1826.  Cup-rest.     D.  2^  in.     Perforated  sides.    Drab  clay,  dark 
brown  glaze.     Pine  cone  supports.     Suma  (imp.).  1800 

1827-     Incense-box  (bird).     L.  2/^  in.     Drab  clay  and  glaze, 
mottled.     Eyes  in  white  slip.     Suma  (imp.).  1840 

1828.     Tea-bowl.    D.  4^  in.    Drab  clay  and  glaze  mottled  with  brown.    Sumaiymip.).    1840 


Two  brown  bands  of  color  encircling 
1800        _._ 


1825 


PROVINCE   OF  HARIMA 


'55 


1829.     Pentagonal  dish.     D.  4}  in. 
slip.    Suma  and  Totoken  (imp.). 


Dralj  clay  and  glaze  mottled.    Characters  in  brown 

1850 


KISAN    (Case  16) 

A  potter,  signing  himself  Kisan,  made  pottery  in  Suma  after  typical  Maiko  style. 
The  single  specimen  in  the  collection  is  modeled  by  hand,  and  bears  the  incised  char- 
acters Suma  and  Kisan  on  the  bottom. 


1830 


1830.  Wine -BOTTLE,  double  gourd  -  shaped.      H.  5^  in.     Modeled  by  hand. 
Grayish-drab  clay  and  glaze  mottled.     Characters  in  white  slip. 
Suma  Kisan  sei  (inc.).  1800 

ICHIBEI    (Case  16) 

A  potter  of  Maiko,  signing  his  pieces  Ichibei,  showed  considerable  skill 
as  a  modeler.     The  pottery  is  after  Maiko  style,  but  more  pretentious. 

1831.  Dish.    D.  8|  in.    Modeled  in  form  of  three  shells  adhering.    Drab  clay,  spotted  with 

dark  brown.     One  shell  with  greenish-gray  glaze,  the  other  two  shells  with  

rich  dark  brown  glaze,  mottled  with  golden  -  brown.      Splashes  of  thick 
white  overglaze.    Maiko  and  Ichibei  (imp.). 

1832.  Cylindrical     flower -vase.       H.    ii|    in. 
Drab  clay,  light  drab  glaze  clouded  with  dark  drab, 
thick  cream-white  overglaze  around  rim.     Dragon  and 
clouds  vigorously  modeled  in  high  relief. 
Akashi  Ichibei  (imp.).  1880 


1880 


^ 


V5^ 


TOZAN    (Case  16)  '^3' 

A  pottery  was  established  in  the  town  of  Himiji  in  1826,  by  order  of  the  governor. 
Dohachi  wras  invited  to  take  charge  of  it.     The  work  is  not  without  merit,  though  the 
best  feature  is  the  vigorous  decoration  in  blue  seen  on  some  of  the  bowls. 
The  name,  Tozan,  is  derived  from  a  mountain  of  that  name  from  whence 
the  clay  was  obtained.     Specimens  are  rare. 


1833 


1833.  Bowl.     D.  4^  in.      Drab  clay,  warm  light  gray  glaze.     Decoration  of 
flowers,  panels,  etc.,  in  blue.     Dull  brown  glaze  inside  high  basal  ring.      ^^ 
Tozan  (written  in  blue).  1830     ^J 

1834.  Tea-jar.      H.  3  in.      Light  brown  clay,  light  olive-brown  glaze.     ^ 
Tozan  (imp.).  1830     '  ^'* 

1835.  Tea-jar,  pyriform.     H.  3  in.    Light  brown  clay,  rich  brown  Seto  glaze,  mottled  with 
darker  brown.     Tozan  (imp.).  1830 

1836*.     Tub -shaped  dish,  with  cover  fitted  inside. 

body,  pale  green  celadon  glaze. 

Tl)zan,  on  bottom  (inc.  ?).    Koyoshida,  on  cover  (inc.  ?).  1830 

«83S 


D.  4^  in.     White  stone 


1870 

Inside 


156  THE   CATALOGUE 

OKIAKU  (Case  16) 

A  tea-pot  delicately  modeled  by  hand,  unglazed  and  of  recent  origin,  has  incised 
upon  it  with  other  characters  the  inscription  of  North  Himiji. 

1837-     Tea-pot,  delicately  modeled.     D.  i\  in.     Light  fawn  clay  darkened  by 
use,  unglazed.     Trees,  etc.,  in  relief,     Himiji  ni  oite  Okiaku  sei  (inc.). 

1838.     Haisen.     D.  5}  in.    Modeled  by  hand.    Fine  dark  brown  clay, 
thick  grayish  glaze  coarsely  crackled  running  over  rim  in  splashes. 
Sea-shells,  with  dull  glaze  modeled  in  high  relief,  applied  on  one 
side.     Okiaku  ro  (imp.).  1870 

HONOBONO   (Case  16) 

Pottery  with  this  mark  had  always  been  a  puzzle  to  the  Japa- 
nese expert,  until  Mr.  Matsuki  ascertained  that  it  was  made  in  Akashi,  and  sold  as 
souvenirs  of  the  place.     A  temple  in  Akashi  was  erected  to  the  memory  of 
Hitomaro,  the  great  poet.      His  famous  poem  beginning  "  Honobono  to 
Akashi  no  urano  Asagiri "  gave  to  the  potter  the  suggestion  of  the  mark 
Honobono. 


1839.  Leaf-shaped  dish.  L.  4J  in.  Modeled  by  hand.  Drab  clay  with  red- 
dish tinges,  pearl-gray  glaze,  characters  in  white  slip.  Honobono  and  Kado,  —  the 
snail  representing  Ka  (imp.).  1830 

1840.  Cup.      D.  2|  in.     Moulded.      Drab  clay  with  pearl-gray  glaze,  splashes  in  white. 

1830 
RIOZAN    (Case  16) 

A  jar  of  peculiar  form,  with  thin  walls  and  lustrous  glaze,  bears  the 
incised  mark,  Rydzan  and  Ban,  the  first  character  of  the  province  Banshu, 
or  Harima  It  resembles  early  Maiko,  and  may  be  one  hundred  years  old. 
No  information  is  at  hand  in  regard  to  the  potter. 

1841.  Jar.  H.  75  in.  Thin  walls.  Fine  fawn  clay,  light  fawn  glaze,  lustrous, 
coarsely  crackled.  Splashes  of  light  brown  overglaze.  Ban  Rydzan  no  saku 
nari  {inc.).  1780 


M 


184X 


PROVINCE   OF   IZUMO 

NiNAGAWA  in  his  work  and  manuscript  notes  recognizes  among  Izumo 
pottery  three  kinds,  namely:  Fujina,  Rakuzan,  and  Shina  or  Gombei. 
Other  authorities  mention  only  Izumo  and  Rakuzan ;  still  others  record 
Izumo  and  Fujina.  This  uncertainty  has  arisen  by  the  continuance  of  cer- 
tain ovens  in  which  successive  potters  have  baked  from  time  to  time.  With 
a  small  collection  there  seem  to  be  a  number  of  well-defined  types,  yet  with 


UNlVtKSITy  j) 


CASE    16 


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1790  '779  /787 


i&0<t  lf(0|  ISIV 


PROVINCES  OF  TOTOMI   AND   HARIMA 


Or    rMfc 


PROVINCE  OF^mmio^^^  157 

a  large  number  of  specimens  the  distinctive  characters  are  difficult  to  sepa- 
rate. The  larger  number  of  objects  are  without  marks.  This  is  especially 
true  of  the  older  work,  and  here  there  is  much  uncertainty.  The  following 
kinds  may  be  defined.  A  gray  Izumo,  possessing  the  characters  ascribed 
to  Gombei's  work,  may  be  properly  known  as  Gombei.  Gombei  and  his 
immediate  successors  were  succeeded  by  Zenshiro,  who  left  his  ma.rk"Zen" 
upon  his  work,  and  the  memory  of  this  skilful  potter  and  his  successors  should 
be  perpetuated  under  the  name  of  Zenshiro.  A  bright  yellow  glaze,  varying 
with  reddish-brown,  or  with  both  combined,  may  be  known  as  Fujina.  Pot- 
tery, departing  from  the  above  forms,  yet  bearing  the  evidence  of  skill  and 
age,  and  usually  identified  by  the  Japanese  as  Rakuzan,  may  be  classified 
provisionally  under  this  name. 

GOMBEI    (Case  17) 

In  the  latter  part  of  the  seventeenth  century  the  governor  of  Matsuye  invited  a 
potter  from  Hagi,  Nagato,  to  establish  an  oven  at  Matsuye.  This  potter  was  Gombei 
Kurisaki,  pupil  of  the  famous  Korean  potter  Korizayemon.  Gombei  brought  with  him 
clay  and  glazing  material  from  Hagi.  Pieces  attributed  to  Gombei  closely  resembling 
those  of  Hagi  are  rough  with  gray  glaze,  sometimes  showing  granules  cracking  through 
the  glaze.  Gombei  worked  for  eighteen  years,  and  was  succeeded  by  Hanroku  Kada, 
and  after  him  by  his  son.  The  oven  closed  in  1695,  and  was  again  opened  in  1 716  by 
Juyemon  Nagaoka,  who  began  the  work  of  making  tea-utensils  after  Korean  models. 
Many  of  the  pieces  attributed  to  Gombei  may  have  been  made  by  his  immediate 
successors,  or  by  Nagaoka. 

1842.  Tea-bowl.  D.  5  in.  Rim  slightly  flaring.  Hard  drab  clay,  gray  glaze  with  pinkish 
areas,  large  white  granules  breaking  through  glaze.  1680 

1843.  Jar.     H.  6J  in.     Light  gray  clay  and  glaze,  rough  surface.  1680 

1844.  Bowl.  D.  4I  in.  Lathe-marks  vertical.  Brown  clay,  greenish-gray  glaze,  scrolls 
in  black.  1750 

1845.  Bowl.     D.  sJ  in.     Warm  gray  clay  and  glaze.     Roughly  made.  1750 

1840.     Jar.     H.  4i  in.     Gray-drab  clay,  smooth  lustrous  dark  gray  glaze.  *77o 

1847-  Tea-bowl.  D.  4J  in.  Roughly  made.  Dark  drab  clay,  warm  gray  glaze.  Under- 
decoration,  rough  designs  of  wheels,  etc.,  in  dark  brown.  1770 

1848.  Hanging  flower-holder.  H.  5!  in.  Elaborately  modeled  and  carved  in  basket 
form.     Drab  clay  with  brownish  areas,  warm  gray  glaze.  1780 

1849.  Tea-bowl,  irregular  contour.  D.  5^^^  in.  Light  brown  clay,  yellowish-brown  glaze. 
Touch  of  white  slip  outside,  brush  of  white  inside.  1780 

A  remarkable  form. 


»5« 


THE   CATALOGUE 


ZENSHIRO  (Case  17  and  Plate  XV.  1850,  1853) 

Pieces  of  fair  age  and  quality,  having  the  mark  Zen,  in  hexagon,  or  Unzen  in 
double  gourd,  were  made  by  Tsuchiya  Zenshiro  Yoshikata,  whose  pseudonym  was 
Hoho.  He  was  called  to  Fujina  in  the  middle  of  the  last  century.  His  work  not 
only  excelled  that  of  his  predecessors,  but  has  never  been  equaled  in  the  province. 
The  low  dish  figured  by  Ninagawa,  and  believed  to  be  two  hundred  years  old,  is  prob- 
ably the  work  of  Zenshiro  in  Fujina.  Zenshiro's  work  consisted  of  utensils  for  the 
tea-ceremony.  A  second  generation  succeeded  under  the  same  name.  The  third  and 
fourth  generations  were  known  as  Zenroku  ;  the  present  generation  is  Zentaro. 


L.  sJ  in.     Fine  light  gray  clay,  thick 

1750 


1850.    Oblong  cake-dish,  sides  deeply  scalloped 
white  glaze.     Scrolls,  flowers,  etc.,  in  indigo  blue. 
Type  Ninagawa.     Part  III.,  Fig.  29. 

l85I-     FiRE-BOWL,  square,  with  flattened  corners.     D.  4  in.     Light  fawn  clay,  transparent 

underglaze,  white  overglaze,  with  decoration  of  birds,  flowers,  scrolls,  etc.,  in  black  and  blue. 

Unzen  (imp.).  1750 

These  two  objects  in  white  and  blue  are  exceedingly  rare  forms. 

1852.     Tea-bowl.     D.  4^  in.     Dull  brick-red  clay,  warm  gray  glaze.     Over- 
decoration  of  prawn  and  plant  in  red,  green,  and  gold.     High  basal  ring  with        1851       1852 


1750 
Thick  and  heavy. 


Fawn- 


deep  notch.     Unzen  (imp.). 

1853.  Square  dish,  supports  in  form  of  pine  cones.     W.  9  in 
colored  clay,  thick  straw-colored  glaze  with  large  splashes 
of  dark  green  and  light  brown  overglaze.     Decoration  of 
stripes   and   irregular  figures   in   olive-green.     Cloth-mark 
impression  on  bottom.     Zen  (imp.).  1750 

1854.  Bottle.     H.  5  in.    Thick  and  heavy.     Fawn  clay, 
thick  light  gray  glaze,  large  splash  of  whitish-gray  glaze  with  olive-brown 
glaze  running.     Zen  (written).  1750  1854 

1855.  Flower-vase,  square.     H.  13J  in.    Thick  and  heavy.     Swelling  sides.     Coarse  deep 
red  clay,  thick  purplish-black  glaze.     Fret  about  rim  and  bamboo  on  sides  in 
white  slip  glazed  bright  green.     Zen  (imp.). 

1856.  Boat -SHAPED  dish,  supported  on  three  flattened  loops. 
L.  6|  in.  Drab  clay,  yellow  glaze  with  splash  of  greenish  overglaze  at 
one  end.  Rude  decoration  in  brown.  Cloth-mark  impression  inside 
and  out.     Unzen  (imp.).  i860 

The  last  two  specimens  are  probably  the  work  of  Zentaro. 


RAKUZAN    (Case  17  and  Plate  XV.  1864) 

The  oven  at  Matsuye,  which  Gombei  first  established,  vras  near  a  tea-house  by  the 
name  of  Rakuzan,  known  locally  as  Giozan.  Pieces  of  great  refinement  and  beauty, 
showing  evidences  of  age,  and  differing  from  the  work  of  Zenshiro,  are  recognized 
by  the  Japanese  as  Rakuzan.  Specimens  bearing  this  mark  may  be  regarded  as 
Rakuzan.     Beyond  this  the  distinctions  seem  artificial,  and  it  is  not  improbable  that 


PROVINCE   OF  IZUMO  159 

many  objects  regarded  as  Rakuzan  may  have  been  made  by  one  of  the  Zenshiro  gen- 
erations. One  of  the  two  specimens  in  the  collection  bearing  the  mark  of  Rakuzan 
resembles  a  poor  imitation  of  Gombei 

1857.  Plate.  D.  1%  in.  Light  fawn  clay,  rich  lustrous  dark  brown  glaze.  Around  rim 
inside  steel-colored  and  crystalline.  1780 

1858.  Cake-dish,  lozenge-shaped.  L.  12J  in.  Moulded.  Gray-drab  clay,  warm  bluish- 
g^ay  glaze.     Inside,  in  relief,  two  interlocking  cranes  conventionalized.  1780 

1859-  Oblong  dish.  L.  9I  in.  Modeled  in  basket-work  inside.  Fawn  clay,  transparent 
underglaze,  thick  fawn  overglaze  inside  and  out,  splash  of  mottled  green  and  white  glaze 
on  inner  sides.  1780 

i860.  Tea-bowl.  D.  4J  in.  Fawn  clay,  rich  lustrous  dark  brown  glaze  with  lighter  areas. 
Raku  (imp.).  1780 

1861.  Tea-bowl.     D.   f>\   in.     Rough   yellowish  clay,   yellowish-buif 
glaze,  slightly  iridescent  within.  1780 

1862.  Tea-bowl,   irregular.     D.    5    in.     Dull  fawn  clay,  warm  gray 
glaze,  thick  brush-mark  of  white  glaze  inside  and  out.    Rakuzan  (imp.). 

A  very  rare  mark.  1780 

1863.  Dish,  in  form  of  two  shells  (Pecten  and  Cardium).  L.  6J  in.  Light  fawn  clay, 
dark  maroon  glaze.     Inside,  rich  golden-yellow  and  light  maroon.  1820 

1864.  Bottle,  elongate  oval,  short  neck.  H.  7I  in.  Light  buff  clay,  rich  dark  orange 
glaze  coarsely  crackled,  clouded  with  dull  purplish-brown.     Rakuzan  (imp.).        1830 

Gift  of  Thomas  E.  Waggaman. 

1865.  Flower-vase,  oviform.     H.  7^  in.    Thick  and  heavy.     Light  yellowish  clay, 
transparent  underglaze,  rich  reddish-brown  overglaze  with  golden-yellow  splashes  on       1864 
shoulder.     Streams  of  light  fawn  overglaze.  1830 

1866.  Cake-dish.  D.  5I  in.  Light  warm  reddish  clay,  warm  gray  glaze.  Rough  sketch 
of  bridge,  birds,  scrolls,  etc.,  in  dull  blue.  1830 

1867.  Oblong  cake-dish.  D.  6^*5  in.  Brown  clay,  warm  gray  glaze,  splashes  of  thick 
white  overglaze.     Over-decoration  of  plum  blossoms  in  blue.  1840 

FUJINA   (Case  17  and  Plate  XV.  1875) 

The  early  bright  yellow  and  fiambe  glazes  were  first  made  at  Fujina,  and  the  older 
and  better  kinds  of  these  are  known  as  Fujina  by  the  Japanese.  At  the  present  day 
large  quantities  of  a  similar  yellow  pottery  made  for  export  bear  the  mark  of  Izwno 
Wakayama.  As  it  is  difficult  to  make  any  distinctions  in  these  so  far  as  paste  and 
glaze  are  concerned,  they  are  here  included  under  the  original  name,  Fujina,  though 
this  is  arbitrary. 

1868.  Cake-plate,  wavy  rim.  D.  5  J  in.  Fawn  clay,  thick  yellowish  -  straw  glaze  with 
large  splash  of  thick  olive-green  glaze  on  one  side,  without  lustre.  1780 

A  fine  example. 


l6o  THE   CATALOGUE 

z86g.  Flower-vase,  flask-shaped.  H.  9J  in.  Fawn  clay,  light  straw-colored  glaze,  minutely 
crackled.  1780 

1870.  Tea-bowu     D.  sJ  in.     Dull  fawn  clay  and  glaze.     Strongly  turned.  1800 

1871.  Bowl.  D.  4I  in.  Fawn  clay,  dull  light  gray  glaze.  Over-decoration  of  flowers  and 
leaves  in  green,  white,  and  dull  blue.     Basal  ring  notched.  1800 

1872.  Bowl.  D.  \%  in.  Light  gray  clay,  light  drab  glaze.  Over-decoration  of  flowers 
and  grasses  in  green,  red,  and  yellow,  touched  with  gold.     Ninsei  (imp.),  imitation.  1800 

l873'  Oblique  rectangular  dish,  diagonal  corners  flattened.  L.  i\  in.  Straw-colored 
clay  and  glaze.  On  one  side  splash  of  brown  overglaze.  Inside,  plum  blossoms  in  relief 
moulded.  18 10 

1874-  Cake-dish.  D.  6  in.  Rim  deeply  scalloped  in  three  heavy  folds.  Fawn  clay. 
Outside,  thick  greenish  glaze.     Inside,  thick  grayish-white  glaze.  1820 

1875-  Tea-bowl,  D.  5  in.  Coarse  fawn  clay,  straw-colored  glaze.  Broad  brush-mark  of 
white  inside  and  out.  1830 

Type  Ninagawa.     Part  III.,  Fig.  30. 

1876.  Cake-dish.  D.  6  in.  Rim  slightly  scalloped.  Fine  straw-colored  clay,  smooth 
lustrous  straw-colored  glaze.  Inside,  over-decoration  of  pine,  bamboo,  and  plum  in  blue, 
green,  purple,  and  white.  1830 

1877-  Bowl,  symmetrically  and  gracefully  turned.  D.  4I  in.  Yellowish  straw-colored 
clay  and  glaze,  coarsely  crackled.  1830 

1878.  Tea-bowl.  D.  s^V  in.  Buff  clay,  light  ochre  glaze.  Crane 
in  white  and  brown  Mishima.     Basal  ring,  three  notches.  1850 

1879-  Bowl.  D.  7-,^  in.  Fine  light  fawn  clay,  thick  opaque 
white  glaze.  Over-decoration  of  ornamental  band,  flowers,  etc.,  in 
green,  red,  yellow,  and  blue,  touched  with  gold.  1850 

The  following  objects  represent  modern  Izumo.  The  clay 
and  glaze  is  pale  yellow  or  rich  lustrous  brown,  sometimes 
with  flaming  red  and  golden-yellow,  the  yellow  glazed  ones 
often  splashed  with  green.     Rarely  decorated. 

1880.  Figure  of  Fukurokuju,  with  staff.  H.  20J  in.  Fine  buff 
clay,  rich  deep  reddish-yellow  glaze  with  rich  reddish  areas  and 
mottling.  Design  of  drapery  impressed  and  glazed  green  and  red  ; 
sash  thick  blue;  lines  of  thick  white  glaze  on  beard.  Kei-o  san 
unotoshi  ju-ichi  gatsu.     Unyei  kore  wo  tsukuru.     Seal,  Unyei  (inc.). 

A  remarkable  piece  of  modeling.  1867 

Gift  of  Denman  W.  Ross. 


PROVINCE    OF  IZUMO  i6i 

1881.     Flower-vase,  in  shape  of  bamboo.     H.  4}  in.    Yellowish-straw  clay  and  glaze,  small 
splash  of  light  green  overglaze.     Unyei  (imp.).  1868 


1881  1886  1887  1892  1894 

1882-1896.     Jars,  bottles,  fire-vessels,  bowls,  plates,  tea-pots,  etc.         1870-1880 
These  are  variously  signed,  Zen  (1886,  1887),  Unzen  (1888),  Izumo  Wakayama  (1889), 
Gmstwsai  Ho  in  (1892),  Izumo  Wakayama  and  Dai  (1894). 

IZUMO   IN   GENERAL   (Case  17) 

Pottery,  unquestionably  Izumo  yet  differing  from  the  above  kinds,  is  here  grouped 
under  the  general  name  of  Izumo.  Some  of  this  work  is  signed,  yet  the  marks  give 
no  clue  to  the  potter  or  place  of  baking.  It  is  a  confession  of  ignorance  thus  to  bring 
together  a  number  of  dissimilar  kinds  of  pottery,  some  of  which  were  doubtless  made 
by  the  later  Zenshiro,  others  possibly  baked  in  Fujina  or  Rakuzan  ovens ;  yet  until 
further  information  is  available  they  will  be  thus  grouped. 

1897-     Bowl.     D.  4f  in.     Fawn  clay,  dull  dark  brown  underglaze,  straw  overglaze  punc- 
tured, narrow  strip  of  underglaze  exposed  at  middle  and  at  base.     Rough  sketch  in  brown. 

1700 

1898.     Flaring  bowl.     D.  4}  in.     Similar  to  last.  1700 

l899-     Oil-bottle.     H.  4J  in.     Fawn  clay,  straw-colored  glaze  with  splashes  of  olive-green 
overglaze  running.     Curious  crackle.  1750 

I900-1903.    Jar  and  bowls.  1770-1800 

With  the  exception  of  1902,  of  doubtful  attribution. 

1904.  Incense-box.     H.  2tV  in.     Light  gray  clay  and  glaze,  mottled  with  brown.     Bands 
and  diaper  in  brown.     Calyx  in  relief  on  top.  1820 

Identified  by  Ninagawa  as  Izumo. 

1905.  Square  dish.     W.  6J  in.     Light  brownish  clay,  hard  gray  glaze.     Maple  leaves 
impressed  inside  and  colored  dark  gray.     Coarse  cloth-mark  impression  inside.  1830 

1906.  Bowl.     D.  4^  in.     Coarse  brownish  clay,  light  yellow  glaze,  splash  of  very  dark 
brown  glaze,  tinged  with  light  green.     Seiwodo  (imp.).  i860 

1907-1925.     Tea-jars.  1700-1860 

The  tea-jars  of  Izumo  have  drab,  fawn,  or  buff  clay,  rich  lustrous  dark  brown 
or  rich  ochre  glazes  ;  in  recent  specimens,  splashed  with  red  or  yellow,  resembling 
in  this  respect  the  Izumo  pottery  made  within  thirty  years. 


ifo  THE   CATALOGUE 

PROVINCE   OF   AKI 

The  pottery  of  this  province  has  never  attained  any  celebrity  among 
connoisseurs.  No  records  have  been  met  with  in  Japanese  books  or  manu- 
scripts respecting  its  potters.  The  few  notes  here  presented  concerning 
the  pottery  of  this  province  were  obtained  by  me  from  antiquarians  at 
Hiroshima  and  from  a  learned  priest  at  the  temple  of  Miyajima. 

MIYAJIMA  (Case  17) 

In  1830  a  potter  named  Keisai  Fujiya  built  an  oven  at  Ebamura,  near  Hiroshima, 
and  made  wine  and  tea  cups,  which  were  sold  as  souvenirs  at  Miyajima.  The  pieces 
were  signed  Miyajima,  or  Miyajima  yaki,  and  rarely  with  the  crest  of  the  temple  of 
Miyajima.  The  objects  were  usually  decorated  (overglaze)  with  a  tori-i,  bridge,  or 
with  flowers.  The  clay,  which  was  loose,  and  light  red  or  yellow  in  color,  was 
brought  from  Mito  Konoura,  about  seven  miles  west  from  Miyajima,  and  mixed  with 
other  clay  in  certain  proportions.  The  potter  and  his  pupils  continued  to  work 
for  ten  years.  Another  oven,  baking  similar  pottery,  was  situated  at  Takeyacho, 
Hiroshima.  Of  this  oven  but  little  was  known.  Shallow  plates,  resembling  Akatsu, 
Oribe,  and  others  closely  resembling  certain  light  yellow  pottery  made  by  Fujimi,  of 
Nagoya,  are  sold  as  souvenirs  at  Miyajima.  They  bear  the  written  mark  Miyajima  sei, 
yet  I  am  inclined  to  believe  that  they  were  made  by  Fujimi,  in  Nagoya. 

1926.     Shallow  tea-bowl.     D.    5J   in.     Light   reddish   clay,   glistening    greenish   glaze, 
mottled  with  yellow  spots  and  streaks  of  brown.     Miyajima  yaki, 
and  crest  of  the  deity  of  the  temple  of  Miyajima  (imp.).  1840 

I927'  Tea-bowl.  D.  4J  in.  Light  reddish  clay,  glistening  trans- 
parent glaze  with  greenish  tinges.  Tori-i  and  characters  in  dark 
brown.  Mijajima  yaki,  and  crest  of  the  deity  of  the  temple  of 
Miyajima  (imp.).  1840 

1928.  Tea-bowl.     D.  3I  in.     Light  reddish  clay,  deep  reddish  glaze.    Tori-i  in  brown. 
Miyajima  yaki  (imp.).  1840 

1929.  Tea-bowl.  D.  4J  in.  Light  reddish  clay,  glistening  green  glaze,  mottled 
with  yellow.     Tori-i  in  brown.     Miyajima  yaki  (imp.).  1840 

1930.  Shallow  tea-bowl.  D.  5  J  in.  Fine  yellowish  clay,  yellowish  glaze.  Sur- 
face rough.  Inside,  tori-i  in  dark  brown.  Bottom  with  deep  spiral  mark.  Un- 
signed. i860 

I93^-     Wine-cup.     D.  2|  in.     Fine  yellowish-white  clay,  transparent  glaze  with  greenish 
tinges.     Inside,  landscape  in  brown.     Miyajima  yaki  (\mY>.).  i860 

1932.     Tea-cup.     D.  2-j^  in.     Fine  light  yellowish  clay,  transparent  glaze.     Landscape  in 
brown,  red,  and  green.     Strongly  iridescent  inside.     Miyajima  yaki  (\m^.).  i860 

1933'     Shallow  plate.     D.   4-fV  in.     Hard   light   yellowish  clay,  yellowish   glaze,    thick 

splash  of  green  overglaze.    Decoration  of  curtain  in  dark  brown. 

Miyajima  sei  (written  in  brown).  1870 


PROVINCE    OF  AKI 


163 


1934-     Shallow  plate.     D.  4  in.     Yellowish  clay  and  glaze.     Maple  leaves  and  characters 
inside  in  dark  brown.    Miyajima  yaki  (imp.).  1870 


^935-     Shallow  plate.     D.  4J  in.     Fine  yellowish  clay,  transparent  glaze.     In- 
side, pine  incised.     Miyajima  sei  (written  in  brown).  1870 

193^'     Tea-cup.      D.  2|   in.      Hard   white   clay,    transparent  glaze 
coarsely  crackled.     Under-decoration  of  leaves  in  rich  brown. 
Miyajima,  Osuna  yaki  (yixxXX.&vi).  1870 

Osuna  means  honorable  clay. 


'a 


1936 


t. 


>93S 


SHOKA   (Case  17) 

An  extraordinary  fabrication  in  pottery,  with  a  written  mark  which  shows  it  to 
have  been  made  by  Shoka  and  decorated  by  Dotei,  and  a  year  period  which  gives  its 
date  as  1820,  was  identified  in  Hiroshima  as  having  been  made  in  Takeyama. 


1937'  Wine-vessel,  in  form  of  a  square  box, 
corner  and  in  centre.  Walls  extremely  thin. 
Soft  light  reddish  clay,  warm  dull  grayish 
glaze  with  round  yellowish  spots.  Over- 
decoration  of  branches,  leaves,  and  plum 
blossoms  in  red,  green,  and  gray.  Bunsei 
inu-doshi  Geiyo  Takeyama  Shoka  sei,  Dotei  ga 


H.  9  in.     On  top  a  small  opening  in  one 


(written). 


1820 


EBAMURA   (Case  17) 

A  potter  of  this  village  produced, 
among  other  objects,  cups  of  fine  red 
clay  with  transparent  glaze  and  decora- 
tion in  green,  yellow,  and  purple. 

1938.  Tea-cup.  D.  2^^  in.  Hard  white 
clay,  transparent  glaze.  Over-decoration  of 
landscape  in  green,  yellow,  and  purple.    1850 

1939.  Bowl.  D.  35  in.  Fine  light  red 
clay,  transparent  glaze.  Outlines  of  leaves 
and  melons  in  white  slip.  Melon  with  green 
glaze.     Fine  dull  gold  scroll.  1850 

1940-     Deep  cup.     D.  t,^  in.     Hard  reddish  clay,  bright  transparent  glaze, 
tion  of  gourd  vine  in  green,  white,  and  yellow  glazes. 


1937 


Over-decora- 
1850 


KAKIMAYACHI    (Case  17) 

A  hard  white  semi-porcelain  with  dull  indigo-blue  decoration  is  said  to  have  been 
made  in  Kakimayachi  in  1840.  The  two  objects  in  the  collection  have  no  special 
merit 


l64  THE   CATALOGUE 

1941.  Square  bottle,  with  square  nozzle  in  one  corner.  H.  •j\  in.  Hard  white  clay  and 
glaze,  indigo-blue  splashes  about  rim  and  base  representing  clouds.  Pine  branch  and  leaves 
moulded  on  top.  1840 

1942.  Fire-vessel.  H.  6J  in.  White  porcelain  clay  and  glaze.  Dull  blue  decoration  of 
ornamental  band,  mythological  bird,  and  waves.  1840 

YENAMI    (Case  17) 

A  coarse  wrhite  pottery  with  thick  white  glaze  and  decoration  in  bright  blue  bears 
the  written  mark  Yettami. 

1943-  Deep  dish.  D.  6  in.  Coarse  white  clay,  thick  white  glaze.  Decoration  of  bamboo 
and  fungus  in  bright  blue.     Hiroshima  Yenami  sei  (written  on  side  in  orange- yellow).      1850 


C        I^        1^    1^ 


1943 
KAWAKAYA   (Case  17) 

A  soft  earthen  pottery  of  light  reddish  clay  and  dull  green  glaze,  in  the  form  of 
common  household  utensils,  was  identified  in  Hiroshima  as  Kawakaya  pottery. 

^944*     MosQuiTO-SMOKER.     H.  loj  in.     Cylindrical  in  shape,  perforated  by  numerous  holes 
above.     Light  reddish  clay,  dull  greenish  glaze.  i860 

HIROSHIMA    (Case  17) 

The  two  following  pieces   were  identified   in  Hiroshima  as  Hiroshima  pottery. 
Nothing  could  be  learned  about  the  potter  or  the  oven. 

1945*     Bottle,  in  form  of  account-book.     H.  s|  in.     Light  gray  clay  and  glaze,  splashes  of 
white  overglaze.     Characters  in  brown.  1870 

1946.     Flower-holder,  disk-shaped.     D.   iij  in.     Heavy  dark  tile  clay,  nearly  black. 
Roughly  finished,  unglazed.  1870 


PROVINCE   OF  CHIKUZEN 

In  the  latter  part  of  the  sixteenth  century  two  potters  from  Korea  were 
brought  to  Chikuzen,  and  erected  an  oven  in  Takatori  village.  These  pot- 
ters were  known  as  Hachizo  and  Shinkuro.  They  were  afterwards  assisted 
by  a  skilful  potter,  named  Igarashi  Jizayemon,  who  is  said  to  have  resigned 
his  position  in  Karatsu,  Hizen,  and  come  to  Chikuzen  as  a  wanderer. 
According  to  Ninagawa,  Hachizo  with  his  son  journeyed  to  Kyoto,  or  more 
accurately  to  Fushimi,  and  there  came  under  the  influence  of  the  great 
master  of  the  tea-ceremony,  Kobori  Enshia.     By  his  advice  the  Chikuzen 


2^^., 


OP   THE 

UNlVtlnSn  Y 


CASE   17 


("iOO  \^Tt  IS03         i»7Z        l»7l  18'iS:         iSoz  t8S&         l»<7         )S^9 


iSTiTS 


I  »b-3 


lSrs-6  l«76         HOI         I860       '•*'»       'SIS-       i^^g       ,5,77        ,,(57  j  ^^,3 


l»»3 


I  &y7 


PROVINCES  OF   IZUMO  AND  AKl 


PROVINCE   OF  CHIKUZEN  165 

potters  carried  back  with  them,  either  the  veritable  objects,  or  the  sugges- 
tions of  the  kinds  of  pottery  and  forms  of  utensils  most  desirable  in  the  tea- 
ceremony.  Thus  it  was  that  the  early  productions  of  Takatori  took  so  high 
a  rank.  Records  show  that  the  descendants  of  these  potters  moved  from 
place  to  place. 

There  are  many  forms  of  pottery,  with  many  marks,  recognized  as  Taka- 
tori ;  but  little  information,  however,  is  at  hand  to  separate  the  material  into 
distinct  ovens  and  makers.  Many  of  the  marks  are  evidently  for  the  same 
purpose  as  those  of  Bizen,  namely,  single  characters  or  conventional  marks 
of  individual  potters  who  baked  in  some  communal  oven. 

Typical  Takatori  is  a  most  characteristic  pottery.  Its  fine  clay,  rich 
brown  glaze,  and  delicious  overglaze  readily  distinguish  it  from  other  kinds 
of  pottery.  The  tea-jars  are  particularly  refined  and  delicate,  though  these 
objects  have  been  successfully  paralleled  in  other  provinces,  notably  in  Zeze, 
Omi,  and  in  Agano,  Buzen.  In  late  years  there  have  been  produced  large 
numbers  of  pieces,  among  which  may  be  found  mythological  figures  made 
for  the  export  trade.  Some  clever  modeling  is  seen  at  times,  but  their 
recent  issue  may  be  recognized  at  a  glance. 

TAKATORI    (Case  18  and  Plate  XV.  1967,  1971,  1988,  1989,  2001) 

1947.  Plate.  D.  6  in.  Rim  slightly  crenulated  on  one  side.  Light  brown  clay,  thick 
ochre  glaze,  with  splash  of  brown  glaze  on  one  side.     Impression  of  shells  on  base.  1640 

1948.  Flaring  bowl.  D.  sf  in.  Thickened  rim.  Light-brown  clay,  thick  gray  glaze, 
splashes  of  thick  white  overglaze.  Decoration  of  bag,  boat,  and  waves  in  brown,  inside. 
Pine  needles  outside.  1680 

1949*.  Jar.  H.  7f  in.  Vertical  sides,  beveled  below  and  at  shoulder.  Dark  brown  clay, 
thick  olive-brown  glaze,  splashes  of  fawn  overglaze,  flecked  with  blue.  1700 

1950.  Jar.  H.  6i  in.  Coarse  buff  clay,  rich  thick  dark  lustrous  ochre  glaze,  with  thick 
white  overglaze  running  from  shoulder  in  delicate  streams.  1750 

1951.  Water-jar.  H.  5I  in.  Drab  clay,  rich  mottled  brown  glaze,  with  streaks  of  golden- 
brown  glaze  intermixed,  thick  light  ochre  overglaze  running  from  rim.  1770 

Type  Ninagawa.     Part  III.,  Fig.  21. 

1952.  Water-jar.  H.  5^  in.  Reddish-brown  clay,  lustrous  dark  brown  glaze,  with  green- 
ish-yellow overglaze  streaked  with  light  greenish-blue  and  flecked  with  yellow.  1780 

^953-  Tea-bowl.  D.  sJ  in.  Fawn  clay,  rich  brown  glaze  clouded  with  fawn  and  brownish- 
blue.  1780 

1954.  Tea-bowl.  D.  5  in.  Dull  light  drab  clay,  thick  alternate  splashes  of  ochre,  light 
drab  and  olive-brown  glaze  flecked  with  blue.  Inside,  large  splashes  of  nearly  black  and 
cream-white  glaze  coarsely  crackled.  17^0 


i66  THE   CATALOGUE 

^955-  Flower-vase,  on  three  leg^  modeled  in  form  of  animals'  heads.  H.  9J  in.  Coarse 
dull  brown  clay,  thick  grayish-white  glaze  with  streams  of  dark  brown  running  from  neck. 

1780 
1956.  Hanging  flower-holder  (fish).  L.  9^  in.  Fine  chocolate  clay,  thick  grayish- 
violet  glaze.  .  1780 
^957-     Jar.     H.  5^  in.     Similar  to  1950.                                                                              1780 

195°'  Water-jar.  H.  6f  in.  Upper  portion  flattened  on  four  sides,  forming  lozenge 
shaped  mouth.  Brown  clay,  gray  glaze  strongly  crackled.  Decoration  of  grass,  birds,  etc.,  in 
black.     On  bottom  concentric  circles.  1780 

1959-     Bottle,  double  gourd-shaped.     H.   12  J   in.     Upper   bulb   with  cross-lines   incised, 

lower  bulb  with  leaf  design  incised,  and  three  depressed  areas.    Light  brown  clay  and  glaze, 

thick  cream-white  overglaze  running  to  bottom  in  streams  of  greenish-yellow  fiecked  with  blue. 

A  remarkable  example.  1800 

i960.     Cylindrical  jar,  slightly  flaring.     H.  7I  in.  1800 

I961.  Water-jar.  H.  6J  in.  Twisted  handles.  Rim  lozenge-shaped.  Drab  clay,  yellow- 
ish-fawn glaze,  light  olive  and  brown  overglaze.  1800 

1962*.     Globular  jar.     H.  sf  in.     Thick  and  heavy.  1800 

1963.  Leaf-shaped  dish.     L.  7I  in. 

1964.  Oil-bottle.     D.  sJ  in.     Light  fawn  clay,  very  light  brown  glaze  resembling  copper. 

1800 

1965.  Bowl,  irregular  in  outline.  D.  5  in.  Thick  and  heavy.  Cross-lines  cut  on  side. 
Coarse  brick-red  clay,  olive-brown  glaze,  splash  of  thick  white  overglaze  covering  half  the 
bowl  inside  and  out.     Basal  ring  notched. 

X966.  Oil-bottle.  D.  fs\  in.  Dark  reddish-brown  clay,  thick  rich  mottled  fawn  glaze, 
running,  with  large  areas  of  mottled  white  with  small  deepest  brown  areas,  iridescent.  Rough 
base.  1800 

1967.  Incense-burner.  H.  t,\  in.  Round  body,  gracefully  blending  into  three  legs.  Fine 
light  brown  clay,  light  brown  glaze  resembling  copper,  dashes  of  grayish-white  overglaze. 
Cover  perforated,  with  mythological  lion  on  top  moulded.  Band  of  scrolls  impressed  about 
shoulder.  1800 

A  unique  example. 

1968.  Water-holder  for  ink-stone. 

1969.  Bowl,  with  bail. 

1970'     Dish,  in  form  of  Haliotis.     D.  lof  in.     Maru-kAt  (imp.). 

I971.    Tea-bowl.     D.  4I  in.     Fine  dark  brown  clay,  thick  warm  gray  glaze.     Clouds  and 

cranes  in  white  Mishima.  1820 

A  rare  form. 

1972-1978.    Various  forms.  1830-1850 

1979-  Traveler's  flask,  canteen-shaped  with  looped  handles.  H.  4I  in.  Exceedingly 
light  and  thin.  Fine  drab  clay,  yellowish-drab  glaze.  Bamboo  in  brown.  Cloth-mark 
impression  on  surface.  1850 


e 


1970 


PROVINCE   OF  CHIKUZEN 


167 


Fine  hard  brown  clay,  trans- 
Yo  (imp.).  1770 


igoo.     Bowl.     D,  4J  in.     Sides  deeply  crenulated.     Light  gray  clay  with  reddish  tinges, 
thick  cream  glaze  with  splashes  of  rich  brown.  1850 

1981-1984.     Oil-bottle,  wine-bottle,  deep  bowl,  and  covered  bowl.     Identical  with 
last.  1850 

^985-1987*-     Brush-holder  ;  wine-bottle,  egg-plant  form ;  and  tea-pot.         1860-1880 

TAKATORI   WITH   MARKS 

1988.     Wine-bottle.     H.  6^  in.     Fine  gray-drab  clay  with  reddish  tinges  at  edge  of  glaze, 
light  grayish  glaze  with  areas  of  fawn.     Over-decoration  of  plum  branch  and  bios-     err 
soms  in  black.     Takatori yo  (imp.).  1770     (^^ 

Type  Ninagawa.     Part  III.,  Fig.  22.  l^g, 

1989'    Mate  to  above  with  aster  decoration.  '^ 

I990-    Jar,  oviform.     H.  rzf  in.     Four  looped  handles 
parent  underglaze,  thick  brownish-olive  overglaze,  running. 

Gift  of  Denman  W.  Ross. 

A  very  remarkable  example,  and  probably  made  by  the  potter  who  used  the 
signature  Takatori  Yo  in  the  Ninagawa  tjrpe  described  above  (No.  1988).  The 
character  Yo  is  the  same,  though  written  in  Tensho  style. 

199^-     Plate,  strongly  folded  on  edge.     D.  8f  in.     Fine  fawn  clay,  gray-drab  glaze, 
decoration  of  chrysanthemum  and  leaves  in  red,  green,  ochre,  and  black. 
Ken  (imp.).  1770 

1992.     Leaf-shaped  dish.     L.  i\  in.     Three  supports  in  form  of  chestnuts. 
Fawn  clay.     Outside,  rich  deep  brown  glaze  mottled.  ^  ^^^ 

Inside,  fawn  glaze  with  splashes  of  thick  light  green        jl f^        "^fin 
glaze  around  border.     Ka  (imp.).  1780      ^^  «•  *-* 

1992  1993 

1993-  Similar  to  1992.     Yama  Ka  (imp.).       1800 

1994-  Cake-dish,  in  form  of  two  bivalve  shells.     L.  9J  in.     Gray-drab  clay, 
lustrous  dark  brown  glaze.    Inside,  gray  glaze  flecked  with  fawn 
about  rim.     Sen  (imp.).  1800 

199s     Deep  bowl.     D.  5I  in.     Sen  (imp.).  1820 

1996.     Cup.      D.  2    in.      Light   gray   clay,   deepest   lustrous  '994  i99S  '996 

brown  glaze,  golden-brown  glaze  flecked  with  fawn  showing  through.  Inside,  rich  fawn  glaze. 
Seti  (imp.).  1820 

X997.  Shallow  bowl.  D.  sf  in.  Lower  half  with  encircling  grooves.  Fawn  clay.  On 
one  half  light  fawn  glaze,  remaining  portion  rich  dark  brown  glaze.  Notched  base. 
Jiu  (imp.).  1800 

Certain  pieces  of  pottery  bearing  the  impressed  mark  Ki  were  variously  identified 
by  Ninagawa  and  others  as  Izumo,  and  in  one  case  a  jar  with  the  incised  mark  Ki  was 
grouped  with  Satsuma.  Two  of  these  pieces  are  without  the  slightest  question  Taka- 
tori, and  those  wrongly  identified  as  Izumo  bear  marks  impressed  from  the  same  stamp 
as  is  found  on  the  Takatori  The  pieces  show  the  work  of  a  skilful  artist  and  potter. 
Some  of  the  objects  are  unquestionably  old,  while  others  seem  comparatively  new. 


1991 


Outside,  rich 


i68 


THE   CATALOGUE 


Fawn-- 


1998.     Haisen  (section  of  tree  trunk).     D.  4I  in.    Light  grayish  clay,  dull  light  brown  glaze, 
mottled  with  light  fawn.      Inside,  thick  white  glaze.      Ki,  in  circle 
(imp.).  1800 

^999-  Jar,  looped  handles.  H.  io|  in.  Thick  and  heavy.  Gray- 
drab  clay,  dull  ochre  glaze  with  lustrous  splashes  of  golden-brown  and 
light  fawn  overglaze  flecked  with  blue.     Ki  (imp.).  i8?o 

2000.  Cake-dish.      L.  gf  in.      Inside,  moulded  in  form  of  bamboo  sprout.     Fawn  clay, 
greenish-drab  glaze.     Outside,  dull  brown  glaze.    Inside,  flecked  with  dark  brown 
running  over  in  drops  outside.     Root  end  thick  whitish-fawn  glaze.     Ki  (imp.). 

1820 

2001.  Haisen,  boat-shaped  with  coil  of  rope  on  deck.  L.  \o\  in.  Light  gray 
clay.  Outside,  rich  brown  glaze,  mottled  with  darker  brown,  near  rim  golden- 
brown.     Inside,  grayish-white  glaze.    Decks  green  glaze.     Rope  light  fawn  glaze. 

A  very  beautiful  example.  1800 

2002.  Square  dish,  flaring  sides.  W.  6f  in.  Basket  pattern  moulded  inside. 
Light  fawn  clay,  light  gray  glaze.  Around  rim,  inside,  thick  mottled  green  glaze. 
Ki  (imp.).  1800 

2003.  Haisen.     H.  4J  in.     Inside  and  rim  strongly  moulded  in  shape  of  dragon, 
colored  clay  and  glaze  with  brush-marks  in  brown  outside.     Inside,  thick  green  glaze. 
.ff«(inip.).  1780 

2004.  Flower-vase.      H.  10  in.      Ringed  handles  adherent.      Fine  light  fawn  clay,  rich 
bluish-green  glaze  densely  mottled  in  portions  with  light 
fawn  spots.     Designs  of  scrolls,  fret,  etc.,  deeply  incised, 
.^/(imp.).  1780 

2005.  Incense-burner,  square.  H.  6f  in.  Cover  with 
moulded  lion  resting  on  ball.  Light  buff  clay,  rich  brown 
glaze  flecked  with  lighter  spots,  lustrous.    .^/ (imp.).    1780 

2006.  Jar.     H.  44  in.     Ki  (inc.).  1800 

2007.  Water-vessel.    H.  8J  in.    Globular  body,  long  cylindrical  neck.    Taka  (imp.).    1840 

2008.  Incense-box  (rat).     L.  3  in.     Red- 
dish-fawn clay,  dull  thick  white  glaze  shaded 
with  drab.     Inside,  olive-green  glaze. 
Taka  (imp.).  1840 

2009.  Deep  bowl.  D.  2,\\  in.  Light  drab 
clay,  light  gray  glaze.  Crane  and  character 
in  circle,  in  brown.  Taka  (imp.).  Ho-itsu 
(written).  The  signature  resembles  that  of 
Ho-itsu,  the  artist.  1820 

2010.  Bowl,     compressed     in 
pointed  oval.   L.  5  J  in.    Light  gray 
clay  and  glaze. 
Taka  Yoshiwa  (imp.).  1820  2009 


2004 


2006 


2007 


J. 


PROVINCE   OF  CHJKUZEN  169 

2011.  Flower-vase.     H.  9J  in.     Dark  fawn  clay,  light  olive-green  glaze,  large  splash  of 
greenish-drab  overglaze  running  into  lustrous 

brown  and   dark  olive -green 

Taka  (imp.).     Shigekata  (inc.).  1850      ^^^E^  (/^^ 

2012.  Bowl.     D.  4jin.     Same  marks.     1850  ttf  >  1^ 

2013.  Square  box.      H.   \\^  in.     Beveled         "^    _  d?  a 
corners.     Looped  handles.     Fine  light  brown          V3Pl           .  -P-                 #1 
clay,  dull  light  drab  glaze  clouded,  splash  of  light 
brown  glaze  on  cover.  Taka  Teiten  (mc).     1850 

2014.  Square  TRAY,  one  corner  indented  in  2011  2012  2013  2014 
two  right  angles.     L.  4J  in.     Fine  light  brown 

clay,  light  olive-green  glaze  with  dark  brown  glaze  running  from  rim.     Takatori  Teiten  (inc.). 

1850 

2015.  Shallow  bowl.     D.  5I  in.     Dull  light  brown  clay,  dull  brown  glaze,  lustrous  brown 
overglaze,  darker  around  rim. 

Taka  (imp.).     Arashi  Tanemune  (inc.).  1840 

2016.  Paper-weight,  in  form  of  mythological  turtle.  ti 
L.  6J  in.     Light  brown   clay,   olive-green   glaze,    dark          J  ^f) 
brown  glaze  on  back.    Taia  (imp.).    Teiichi{mc?).    1870  ^»  y, 

2017.  Figure   (Hotei,  sitting   on  bag,  with  mask  in  -''^l»  t  J 
right  hand).     H.  9^  in.     Light  brown  clay,  light  olive-  fc»>  ^^ 
green  underglaze.     Drapery,  lustrous  dark  brown  over-  ■■I  *  -    * 
glaze  running.     Bag,  bluish-white  overglaze.  ^°'S  2016             2017 
Taka  (imp.).      Yeigen  (inc.).                                            1870 

2018.  Tea-pot.     D.  3J  in.     Square  handle  perforated.     Fine  light  grayish-fawn  clay,  dull 
light  brown   underglaze,    lustrous  greenish  -  white   and    rich   brown   overglaze   in 
splashes.     Taka  (imp.).  1878        /o\ 

2019*.     Flower-vase,  cylindrical.     H.  •j\  in.     Warm  fawn  clay,  pearl 

white  underglaze,  warm  fawn  overglaze  running. 

Taka  and  Matsusaburo  (imp.).  1890 


"m 


iS 


The  work  of  a  potter  showing  considerable  merit.  -°'^  2019 

The  Takatori  tea-jars  must  be  considered  the  most  delicate  and  refined  of  all.  The 
usual  form  is  cylindrical,  slightly  tapering  below,  often  with  two  ears  or  knobs  on  the 
shoulder.  The  thread-mark  is  right-handed  and  finely  cut.  Other  forms  occur,  some 
short  and  wide,  others  globular ;  the  double  gourd  form  is  not  unusual.  The  clay  is 
very  fine,  usually  a  gray-drab,  though  sometimes  a  light  or  dark  brown  or  fawn.  The 
glaze  is  rich,  dark  brown,  often  subdued  in  lustre.  All  shades  of  brown  are  seen, 
such  as  olive-brown,  golden-brown,  purplish-brown,  etc.  Sometimes  a  light  fawn 
glaze  occurs.  A  splash  of  fawn  overglaze  is  usually  seen  on  one  side.  The  only  tea- 
jars  that  are  likely  to  be  confounded  with  Takatori  are  certain  forms  of  Buzen  and 
Zeze.  An  expert  has  pronounced  the  collection  of  tea-jars  herein  catalogued  a  tnost 
remarkable  symphony  in  low  tones. 

2020-2059.     Tea-jars.  1680- 1840 


170 


THE  CATALOGUE 


SOSHICHI   (Case  18) 

In  the  village  of  Hakata  a  number  of  potters  were  at  work  in  the  early  years  of 
this  century.  Among  the  most  noted  was  one  Masaki  Yukihiro,  with  the  pseudonym 
Soshichi.  His  work  consisted  of  hand-warmers,  braziers,  incense-boxes,  etc.,  and  the 
few  specimens  of  his  work  in  the  collection  show  great  skill  and  originality. 

2060.  Hand-warmer,  in  form  of  Daruma.  H.  9I  in.  Light  fawn  clay,  garment  rough- 
ened, surface  colored  red.  Face  unglazed.  SoshUhi,  Masaki  Yukihiro  and  Bunsei  Jissai. 
Inu  ju-icAi-gatsu  (ym^.).  1827 

2001.     Water-boiler,  in  form  of  segments  of  char- 
coal.    H.  8J  in.     Fine  dead  black  clay.     Roughened 
surfaces.    Cut  portions  smooth.    Soshichi  (imp.).     1827 
Gift  of  W,  S.  Bigelow. 

2062.  Incense-box  (bird).  L.  3  in.  Fine  soft  light 
fawn  clay.  Head,  breast,  and  tail  dark  reddish-brown 
lacquer.     Eyes  black,  with  red  border.     Inside,  thick  honey  glaze. 

2063.  Incense-box  (Hotei).     D.  2J  in.     Light  reddish-fawn  clay,  unglazed.     In- 
side, greenish  glaze,  pitted.     Soshichi  (iva^.).  1827 


2060 


2061 


Soshichi  (imp.).     1827 


SHUNZAN    (Case  18) 

A  potter  of  Ky5to,  named  Shunzan,  made  pottery  in  the  village  of  Su-o. 
pieces  were  designed  for  the  tea-ceremony  and  are  extremely  rare. 

2064*     Tea-bowl.     D.  4^  in.     Indented  below,  deep  encircling  lines  on  side.        '  *-*-** 
Thick  and  heavy.     Grayish  clay,  light  brown  underglaze,  rich  dark  brown  over- 
glaze  exposing  underglaze  in  portions.     Shun  (imp.).  1780 


PROVINCE   OF  SANUKI 

Sanuki  pottery  seems  to  be  entirely  unfamiliar  to  the  Japanese  col- 
lector. The  name  of  the  province  has  rarely  appeared  in  Japanese  works 
on  pottery,  and  never  in  books  on  the  subject  published  abroad.  Even 
Ninagawa  has  no  reference  to  it  in  his  classical  work,  though,  had  he  lived 
to  publish  another  part,  a  few  plates  for  which  had  been  prepared,  Sanuki 
would  certainly  have  been  included,  as  among  his  manuscript  notes  he  had 
references  to  a  number  of  Sanuki  potters.  I  have  seen  in  collections  Sanuki 
pottery  identified  by  Japanese  experts  as  Izumi;  Awaji;  Kyoto;  Suruga; 
and  Ohi,  Kaga.  The  shallow  green  glazed  plates  made  on  moulds  have 
been  invariably  identified  either  as  Awaji  or  Izumi.  As  a  number  of 
potters  have  at  various  times  established  ovens  in  the  province,  I  have 
made  special  efiforts  to  clear  up  the  sequence  of  these  potters  and  their 
relations  to  one  another,  and  to  identify  their  work. 


CASE    18 


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2.0 6Z  i063 


PROVINCE  OF  CHIKUZEN 


PROVINCE   OF  SANUKI  171 

INARIYAMA  (Case  19) 

In  1690,  or  thereabouts,  an  oven  was  started  in  Takamatsu.  The  first  potter, 
Rihei,  is  said  to  have  been  a  pupil  of  Ninsei ;  and  it  is  further  recorded  that  Ninsej 
was  invited  to  Takamatsu,  where  he  remained  for  three  years,  Rihei  working  with  him 
during  that  time.  The  first  generation  used  no  marks ;  the  second  generation  used 
the  marks  Taka,  and  rarely  tsukuru.  These  marks  and  the  name  Rihei  continued 
through  succeeding  generations.  It  is  not  known  how  long  the  work  went  on.  In 
the  early  part  of  this  century  the  oven  was  revived,  and  a  descendant  of  the  family, 
under  the  guidance  of  Dohachi,  made  many  interesting  pieces.  The  oven,  being  near 
an  Inari  shrine,  was  named  Inariyama.  The  pieces  usually  bear  the  mark  Taka,  from 
Takamatsu. 

2065.  Tea-jak.  H.  2,\  in.  Dull  brown  clay,  brown  glaze  with  darker  splashes,  coarse 
granules  in  clay  showing  through  glaze ;  blistered.  1690 

The  work  of  the  first  Rihei. 

2066.  Square  wine-bottle.  H.  8|  in.  Fawn  clay,  light  fawn  glaze.  Over-decoration  of 
vine  and  flowers  in  red,  leaves  in  thick  green  enamel.     Taka  (imp.).  1740  , 

This  possibly  represents  the  second  generation.  Jtil 

2067.  Incense-box  (bird).    L.  3^  in.    Light  fawn  clay,  thick  whitbh-f awn  glaze,       ^"/ 
tail  and  bill  touched  with  brown.     Taka  (imp.).  1780 

2068.  Shallow  dish.     D.  s|  in.    Yellowish  clay  and  glaze,  without  lustre.     Taka  (imp.). 

1780 

2069«  Bowl.  D.  4J  in.  Fine  fawn  clay,  lustrous  light  fawn  glaze 
coarsely  crackled.  Under-decoration  of  flowers  and  leaves  in  brown,  blue, 
and  white.     Taka  (imp.).  1780  *o68         2069 

2070.  Bowl.  D.  5J  in.  White  stone  clay,  yellowish-fawn  glaze,  coarsely  crackled  and 
pitted.     Minute  brownish  spots  in  glaze.     Taka  (imp.).  1780 

2071.  Water-jar  (drum).  H.  6^  in.  Brick-red  clay,  dark  gray  glaze  with  greenish-gray 
tinges,  clouded.     Taka  (imp.).  1780 

2072.  Tea-bowl.  D.  4j  in.  Lustrous  black  Raku  glaze,  with  large  areas  of  maroon, 
mottled.     Taka  (imp.).  1780 

The  last  six  objects  represent  the  third  generation. 

2073.  Tea -bowl.  D.  4J  in.  Coarse  grayish-drab  clay,  light  fawn  glaze,  rough  surface 
without  lustre.     Over-decoration  of  calendar  in  black.     Taka  (imp.).  1855 

2074.  Mosquito  -  SMOKER,  six-sided.  H.  8f  in.  Perforated  cover.  Soft  light  pinkish- 
fawn  clay,  thick  white  glaze  with  greenish  tinges.  Tokugawa  crest  and  scrolls  in  thick  deep 
blue  overglaze.     Taka  (imp.).  i860 

2075*  Mosquito-smoker,  with  bail.  H.  11  in.  Clay  and  glaze  as  in  the  last.  Over- 
decoration  of  chrysanthemum  in  dark  blue,  green,  and  yellow.     Taka  (imp.).  i860 

2076.    Bowl.     D.  4J  in.   Thick  white  glaze.   Over-decoration  of  leaves  in  thick  blue.    i86o 


172 


THE   CATALOGUE 


SHIDO  (Case  19  and  Plate  XVI.  2092) 

A  pottery,  which  may  be  known  under  the  name  of  Shido  from  the  place  of  the 
oven,  was  first  made  by  Hiraga  Gennai  in  1780.  His  work  was  in  the  form  of  round 
or  square  plates,  haisen,  etc.,  moulded,  with  green  or  yellow  glazes.  The  impressed 
marks  Min,  Shuntnin,  Shido  Shunmin,  and  Hiraga  Shunmin  are  found.  This  work 
is  generally  identified  by  the  Japanese  as  Izumi  or  Awagi.  Hiraga  Gennai  went  to 
Yedo  for  a  short  time,  and  it  is  barely  possible  that  pottery  of  a  similar  nature, 
accredited  to  Tokyo,  may  be  his  work. 

2077*-     Square  cake-plate.     W.  7J  in.     Light  fawn  clay,  under  surface  rich  green  glaze, 

upper    surface    light    fawn    glaze.      Basketwork    and 

flowers  moulded  in  relief.     Flowers,  leaves,  etc.,  glazed 

green,  yellow,  and  purple. 

Nishiki  and  \Kasugi  i~\  (imp.).  1 780 


2078.    Incens&box.     D.  2f  in. 


1780 


2077 


2079.  Haisen   (Case   40),   boat-shape,   with    looped 
handle  at  end.     L.  7J  in.     Fine  brownish  clay,  green 
and  yellow  glazes.     Moulded,  with   crazy  scrolls  and 
diapers  in  thin  sharp  relief  outside.     Leaves  incised  inside. 
Shunmin  and  Hiraga  (inc.).     Mark  extremely  rare.  1780  2079 

2080.  Rectangular  cake -dish.    L.  ii|  in.    Moulded.    Light 

fawn  clay,  bands  of  scrolls,  circles,  landscape,  etc.,  in  high  relief,  with  green,  yellow,  light 
red,  and  purple  glazes.  1780 

2081.  Flower-vase.     H.  8 J  in.  1780 

2082.  Stand,  on  four  elaborately  moulded  incurved  legs,  resting  on  a  base.  H.  9J  in. 
Light  straw  clay,  under  surfaces  transparent  glaze,  legs,  base,  and  top  rich  dark  yellow  and 
green  glaze,  outlined  in  red  and  gold.  1780 

2083.  Flat  quadrangular  dish,  with  elaborately  moulded  legs  at  corners,  circular 
depression  in  centre.     L.  loj  in.     White  glaze,  thick  dark  yellow  overglaze  clouded.        1780 

2084>  Dish,  form  same  as  last.  L.  1 1  in.  Fawn  clay,  below  and  above  rich  green  glaze. 
Rim  bordered  with  blue.     Central  depressed  area  rich  yellow  glaze.     Min  (imp.).  1780 

2085.  Same  as  last.     Thin  greenish  glaze,  dragon  in  light  purple  and  white. 

Shido  Shunmin  (imp.).  1780 

2086.  Comfit-bottle,  octagonal.  H.  3J  in.  White  porcelain  clay,  conventional  leaves  in 
relief  white  glazed  ;  ground  rich  blue.     Min  i  (imp.).  1780 

2087-  Flower-vase,  six-sided.  H.  12  in.  Looped  handle. 
Light  fawn  clay,  yellowish  glaze,  purplish-brown  borders,  green 
ground.     Panels  of  diaper  moulded.     Shunmin  (imp.).        1780 

2088.  Cake-dish.  D.  6J  in.  Moulded.  Various  forms  of 
diaper.  '  1780         2086 


S 


2087 


PROVINCE    OF  SANUKI 


173 


2089.  Square  cake-dish.    H.  8J  in.    Four  legs  in  form  of  shells.     Rim  scalloped.     Light 
buff  clay,  under  surface  transparent  glaze.     Inside,  scrolls,  etc.,  in  high  relief. 
Fukurokuju  with  stag,  purple,  green,  and  yellow  glazes. 
Raku  xa/ and  Shunmin  (imp.).  1780 

2090.  Square  cake-dish,  coiled  shells  as  legs.  W.  gf  in.  Glaze  green, 
yellow,  purple,  and  white ;  under  surface  transparent  glaze.  Scrolls  and  cha- 
racter in  high  relief  moulded.  1780 

2091.  Flower-vase,  elephant  handles.      H.  8J  in.     Light  fawn  clay,  light 

green  glaze  with  yellow  band  on  shoulder.      Bands  of  scrolls,  diaper,  etc.,  on 

body  moulded.  1820 

2089 

2092.  Plate.      D.  iiJ  in.      Light  fawn   clay,  rich  green  glaze  clouded. 

Border  with  diaper  and  basketwork  all  in  high  relief  moulded.  Yellow  glaze  in  portion  of 
fret.    In  bottom,  figure  leading  mythological  lion.     Shido  Shunmin  (imp.).  1 780 

This  is  a  most  beautiful  example  of  Shido. 

2093-  CaIce-dish.  D.  6J  in.  Light  fawn  clay,  light  green  glaze  below.  Inside,  frets, 
scrolls,  and  basketwork  in  high  relief,  moulded.  Glaze  yellow,  white,  purple,  and  green. 
Shido  Shunmin  (imp.).  1780 


2094-  Dish.     D.  gf  in.     Similar  to  last.     Shido  Shunmin  (imp.). 

2095-  Haisen,  six-sided,  flaring.      D.  8J  in.      Similar  to  last. 
Shido  Shunmin  (imp.). 

2096 


1780 


1780 


2093 


Incense-box  (lion).    L.  3I  in.    Fawn  clay,  deep  yellowish-brown  glaze.    Min  (imp.). 

1800 


2097-  Haisen.  D.  8J  in.  Flaring  rim  scalloped.  Outside,  basketwork  half- 
way up,  moulded  and  glazed  dark  green.  Inside,  bands  of  fret  glazed  green  and 
deep  yellow.     Rim  perforated.     Various  colored  glazes.     Min  (imp.).  1800         2096 

2098.  Covered  vessel.     D.  5J  in.     Light  fawn  clay,  thick  yellowish-brown  glaze,  base 
and  inside  transparent  glaze.     Outside  a  mixture  of  scrolls,  etc.,  in  relief 

moulded.     Cover  having  five  circular  openings  with  perforated  diaper. 
Min  (imp.).  1850 

2098         2099 

2099.  Fan-shaped  dish.     W.  gf  in.     Min  (imp.).  1850 

2100.  Cake-dish.    D.  8J  in.    Inside,  fan  decoration  and  scroll  in  brown,  yellow,  and  green. 
Under  surface  transparent  glaze.     Rakuto  (imp.). 

This  is  placed  here  provisionally. 


TOMITA  (Case  ig) 

The  origin  of  the  oven  in  Tomita  village  is  not  known.  It  was  abandoned  in  1780. 
Within  fifty  years  there  has  been  a  revival  of  the  oven,  and  objects  of  considerable  size 
have  been  made  resembling  Inariyama.     The  mark  Tomita  is  very  rare. 

2I0I.    MosQuiTO-SMOKER.     H.  81  in.     Fine  fawn  clay,  very  light  fawn  glaze.    Overglaze 


or  rue     '      vv 

UN^vt^,s^rY    ! 


174 


THE  CATALOGUE 


decoration  of  grapevine  vigorously  drawn  in  blue,  purple,  and  green.    Cover  perforated  in 
flower  pattern.     Tomita  (imp.).  1850 

1\Q'2,.      Compartment-box,  hexagonal,  resting  on  handled  stand.     H.  ii^  in. 

Light  fawn  clay,  white  glaze,  overglaze  decoration  in  light  blue,  green,  and  purple ; 

below,  transparent  glaze ;  handle  and  knob  deep  brown  glaze.     Sides  perforated 

in  flowers  and  lattice-work.     Tomita  (imp.).  1850 

2101 

2103.  Napkin-holder,  unsigned.  i860 

2104.  Tea- JAR.      H.  2j  in.      Rough  light  fawn  clay,  very  thick  seal-brown  glaze,  mottled 
with  yellow.  17^0 

MINZAN   (Case  19  and  Plate  XVI.  2106) 

Minzan  was  the  pupil  and  successor  of  Hiraga  Gennai,  who  first  opened  an  oven 
in  Shido  in  1780.  Minzan  was  far  more  skilful  than  his  master.  At  first  he  made 
moulded  pieces,  but  later  followed  the  style  of  DohachL  His  work  is  in  excellent 
taste,  and  may  be  accounted  rare. 

2105.  Cake-bowl.     D.  ^\  in.     Made  on  mould  after  Shido  style.     Light  fawn  clay,  trans- 
parent glaze  below.    Flowers  and  leaves  incised  outside,  glazed  green, 
yellow,  and  brown,  on  a  brown  ground.     Inside,  leaves,  lion,  etc.,  in 
relief  glazed  green,  purple,  and  yellow.     Minzan  (imp.).  1825 

2106.  Jar,  oviform.     H.  4  in.    Light  fawn  clay,  rich  lustrous  white 
glaze,  stained  crackle.    Flowers  in  dull  blue.   Minzan  (written).     1830 

2107*.     Deep  bowl.    D.  4}  in.    Fluted  sides,  scalloped  edge.   White  glaze,  irregular  splashes 
of  purple,  blue,  green,  and  yellow  overglaze. 


1830 
Light  fawn  clay,  thick 


% 


2107 


Minzan  (written). 

2108.     Tea-pot.     D.  4,^  in. 

lustrous  white  glaze.     Decoration  of  clouds  and  dragon 

in  blue.     Minzan  (written).  1830 

2I0g.  Shallow  Raku  bowl.  D.  6J  in.  Rough  fawn 
clay,  light  reddish  -  brown  and  yellow  glaze  mottled. 
Roughened  surface.     Minzan  (written).  1830 

21 10.  Deep  bowl.     D.  4J  in.     White  clay,  white  underglaze,  light  green 
on  branch  in  dull  blue  and  white.     Minzan  (written). 

The  two  following  pieces  are  placed  with  Minzan  provi- 
sionally. 

21 1 1.  Covered  BOWL.  D.  s|  in.  Light  brick-red  clay,  thick 
white  glaze.  Scrolls  and  flowers  in  thick  blue. 
Raku  Ryosuke  (written).  1830 
TiVll.  Plate.  D.  12  in.  Very  thick.  Inside,  border  of  waves 
in  high  relief  moulded.  Rim  deeply  scalloped,  following  design. 
White  underglaze,  light  green  overglaze.  Inside,  circular  area 
of  white  glaze  with  landscape  in  purple.     Shinzan  (written). 

1830 


2109 

overglaze.     Owl 
1830 


» 


r- 


sua 


PROVINCE   OF  SANUKl 


ns 


YASHIMA   (Case  19  and  Plate  XVI.  2 117) 

This  oven  was  first  opened  by  Mitani  Rinso  in  the  beginning  of  the  century.  Rinso 
first  baked  at  Shido.  In  1880  the  third  generation  was 
at  work.  Green,  yellow,  and  red  glazes  were  used  on 
a  soft  loose  clay.  There  were  two  branches  of  this 
family,  Mitani  Rinso  and  Yotsuya  Soshiro,  and  this  may 
account  for  the  variety  of  marks  impressed,  incised,  and 
written,  which  are  found  on  the  pieces. 

2113.  Box  (peach).  L.  2}  in.  Light  fawn  clay,  Cf^i 
deep  yellow  glaze,  leaves  incised  and  glazed  green,  |s 
with  modeled  branch  in  brown.  VS-' 
Yashima  (imp.).                                                       1800  21x3 

2114.  Covered  jar.      H.  45  in.      Long  looped 
handles.     Body  with  encircling  lines.     Reddish  clay,  thick 
light  brown  glaze.     Band  of  stars  and  fret  impressed  around 
shoulder.      Yashima  (imp.).  1800 

2II5-  Brush-holder,  cylindrical.  H.  3 jf  in.  Glaze  and 
clay  similar  to  last.  On  side,  panels  containing  elephant, 
figure,  clouds,  etc.,  in  relief  moulded.  Band  of  fret  below. 
Band  of  stars  around  rim,  impressed.     Yashima  (imp.).    1800 

2116.  Dish  (fish).     L.  14  in.     Coiled  shells  for  supports. 
Inside,  scales,  gill,  eye,  etc.,  moulded  in  high  relief.     Thick 
light  brown  glaze. 
Yashima  fyvi^^.     KH-jU-ni-o,  Rinso  saku  {v\c^.  18 11  21 16 

2117.  Incense-box  (helmet).     L.  2^f  in.     Moulded.     Light  fawn  clay,  dull  brick-red 
underglaze,  transparent  overglaze  with  large  greenish  areas. 

Yashima.    KH-jii-roku-d  Rinso  tsukuru  {yiniten).  1815 


}'\ 


i^ 


2117 


2118 


2II8.    Wine-cup.    D.  2/^  in.    Light  fawn  clay,  brilliant  yellow  glaze.    Landscape  outside 
tinged  with  green.     Yashima  Rinso,  etc.  (inc.).  1817 


176 


THE   CATALOGUE 


o 


2119.  Deep  CAKE-PLATE.    D.  10  in.    Scalloped  rim.    Fawn  clay,  rich  lustrous  brown  glaze. 
Scalloped  moulding  above  basal  ring.    Inside,  landscape,  scrolls,  formal 

leaves,  etc.,  in  relief,  moulded.  Yashima  ku-jii-hachi-o  Rinso  dan 
shkhi-ju-ichi.  Rinso  tsukuru  (inc.).  Only  Yashima  and  Rinso  tsukuru 
are  here  figured.  1817 

2120.  Tea-pot.  D.  5}  in.  Light  fawn  clay,  transparent  underglaze, 
rich  g^een  overglaze  clouded.  Band  of  scallops  impressed  around 
shoulder.      Yashima  (imp.).  1840 

2121.  Incense-box.  D.  2|  in.  Light  fawn  clay,  dull  white 
underglaze,  thick  greenish-white  overglaze  coarsely  crackled. 
Cross-lines  and  radiating  figures  in  blue.     Yashima  (imp.). 

1840 

2122.  Jar.     D.  5  J  in.     Pinkish-fawn  clay,  brilliant  orange- 
yellow  glaze.    Cover  perforated,  lustrous  brown  glaze.  ""  21 19 
Yashima  (imp.).                                                                       1870 

YOHACHI   (Case  19  and  Plate  XVI.  2123) 

The  successor  of  Minzan  was  Mitani,  who  was  in  turn  succeeded  by  Hidehachi, 
who  was  afterwards  called  Yohachi.  This  potter  studied  in  Owari  and  Kyoto,  and  his 
work  indicates  a  skilful  potter.  With  one  exception  his  marks  were  in  so  disguised  a 
character  that  only  within  a  few  years  have  they  been  deciphered.  His  Raku  bowls 
have  invariably  been  identified  as  Kyoto  Raku,  though  I  had  always  placed  them  in 
Sanuki,  from  their  resemblance  to  a  Raku  piece  made  by  a  successor  of  Yohachi.  It 
was  due  to  this  attribution  that  the  curious  marks  were  finally  deciphered.  Yohachi's 
work  dates  from  the  beginning  of  this  century. 

Fine  light  fawn  clay,  light  fawn  glaze,  finely  crackled. 
Yohachi  (imp.).  1810 

2124.  Incense-box  (flower  bud).  H.  jf  in.  Light  brown  clay,  rich 
dark  and  light  green  glazes.     Unsigned.  1830 

2125.  Raku  tea-bowl.  D.  4J  in.  Thick  and  heavy.  Undulating 
rim.  Light  fawn  clay,  transparent  underglaze ;  bright  red  overglaze, 
underglaze  showing  through.     Rough  design  of  bird  in  olive-green.      Yohachi  (imp.).       1830 

2126.  Incense-box,  fungus  modeled.     L.  2-^  in.     Light  fawn  clay,  lower  part  transparent 
glaze.     Cover  reddish  and  green  glaze.     Yohachi  (imp.).  1830 

2127.  Raku  tea-bowl.     D.  4J  in.     Light  gray  clay,  lustrous  black  Raku  glaze. 


2123.     Tea -bowl.      D.  4^  in. 
Radishes  in  white  and  soft  blue. 


Yohachi  (imp.). 

2128.  Cup.  D.  2j  in.  Coarse  light  grayish  clay  and  glaze. 
Yohcuhi  (imp.).  1830 

TXI^.  Raku  tea-bowl.  D.  4J  in.  Soft  Raku  clay,  pale  red  Raku 
glaze,  coarsely  crackled.  Bamboo  broadly  incised.  Splashes  of 
white  overglaze.      Yohachi  (imp.).  1830 

2130.  Inro  (three  sections).  L.  2|  in.  Light  fawn  clay,  trans- 
parent underglaze,  red  overglaze  with  large  splashes  of  olive-green. 


i-S^o 


EC^ 


2130 


Kichi  in  (imp.).     1830 


PROVINCE   OF  SANUKI  177 

NAOHACHI   (Case  19  and  Plate  XVI.  2131) 

Jirosaburo  Okada  was  the  successor  of  Yohachi,  and  though  in  the  earlier  part  of 
his  work  he  was  known  as  Naoichi  (according  to  a  letter  from  him  to  Ninagawa),  he 
used  the  mark  Naohachi  exclusively  in  his  work.  He  showed  considerable  skill  in 
modeling.     His  signature  is  extremely  rare. 

213I.     Paper-weight,  mythological  turtle.      L.  7J  in.     Fawn  clay.      Plastron  dull  yellow 
glaze,  upper  surface  rich  green  glaze,  toes  blue.     Naohachi  (imp.).      1850 

1\'>)1.  Square  tray  with  scalloped  corners,  resting  on  fluted  knobs. 
W.  1 1 J  in.  Light  fawn  clay.  Lower  surface  light  fawn  glaze.  Upper 
surface  flowers  and  leaves  in  high  relief  glazed  rich  blue,  green,  brown, 
and  white.     Ground  orange.    Naohachi  (not  given)  and  [.']  (imp.).     1850       2131  2132 

TAKAMATSU    (Case  19) 

Pottery  was  made  in  the  town  of  Takamatsu  in  the  middle  of  this  century.  The 
two  pieces  in  the  collection  might  be  mistaken  for  coarse  blue  and  white  Kiyomizu. 

2133-  Bucket-shaped  vessel.    H.  gj  in.     Light  grayish-fawn  clay,  thick  white  glaze  pitted 
and  coarsely  crackled.     Pine  in  bright  blue.  1840 

2134-  Flower -vase,  bucket -shaped.  H.  \o\  in.  Light  fawn  clay,  thick  white  glaze. 
Over-decoration  of  flowers  in  dark  blue.  1840 

TOMIKAWA   (Case  19) 

A  large  plate  in  the  collection  resembling  Shido  bears  the  impressed  mark  Tomi- 
kawa.     It  is  quite  unlike  Tomita.     Nothing  is  known  about  the  potter  or  oven. 

2I35'     Large  plate.     D.  lof  in.     Rim  slightly  flaring,  edge  crenulated.     Light  fawn  clay, 
under  surface  transparent  glaze.     Inside,  border,  scrolls,  formal  leaves,  etc.,  glazed 
green.     Centre,  rude  landscape  in  high  relief  in  green  and  brown  on  light  fawn 
ground,  moulded.      Tomikawa  (imp.).  1800 

SANUKI   (Case  19  and  Plate  XVI.  2138) 

The  term  Sanuki  may  well  be  applied  to  those  pieces  which  bear  the  mark  Sanyo, 
which  means  Sanuki,  rough  pottery.  They  do  not  show  an  age  of  over  forty  or  fifty 
years,  and  it  is  possible  that  some  of  them  may  have  been  baked  in  Minzan's  oven. 
Two  of  the  objects  strongly  resemble  the  work  of  Yohachi. 

2136.  Cake-dish,  with  three  props.  L.  6^  in.  Light  brownish  clay,  dull  white  glaze. 
Inside,  two  large  chrysanthemums  outlined  in  light  blue  with  yellow  centres,  with  brown 
shading.     Ground  rich  green  glaze.     San  yd  (imp.).  1840 

2^37'    Jar.  with  handle.    H.  4f  in.    Fawn  clay,  lustrous  light  fawn  glaze,  strongly  * 

crackled.     White  chrysanthemums  in  high  relief,  leaves  in  green  and  gray.  _J^ 

San  yd  (inc.).  1840        2137 


178 


THE  CATALOGUE 


2138.     Bowl.     D.  4I  in.     Light  fawn  clay,  pinkish-gray  glaze.     Over-decoration  of  flowers 
in  greenish-blue  and  red  touched  with  gold.     Aw*  jo  (imp.).  1840 


2138 


2139 


2139.  Double  bottle.  H.  7J  in.  White 
porcelain  clay  and  glaze.  Outer  shell  lined 
in  lozenge-shaped  panels  with  scalloped  per- 
forations.    .Saw  j/o  (written).  1840 


i'^ 


2140 


4 


/t 


m:\  ;n    ^ 


2140.  Square  tray.  W.  9^  in.  Light 
fawn  clay.  Lower  surface  dull  greenish 
glaze.  Sides,  yellowish-fawn  glaze.  Inside, 
thick  white  glaze.  Landscape  in  purple, 
green,  blue,  and  yellow.  Gu  (imp.).  In- 
scription says  made  from  clay  taken  from  foot  of  Kuriyama,  summer  of    ?     San  yd. 

2141.  Plate.    D.  7^  in. 


1800 


PROVINCE   OF   TAMBA 

The  pottery  of  this  province  in  past  times,  while  adhering  to  the  simple 
severity  demanded  by  the  more  insistent  devotees  of  the  tea-cult,  possessed 
a  richness  of  glaze  and  depth  of  color  unequaled  by  any  pottery  in  Japan. 
The  old  tea-jars,  particularly,  combined  the  beauty  of  Takatori,  the  sobriety 
of  Seto,  and  the  solidity  of  Shidoro,  and  superadded  to  these  qualities  a 
variety  of  features  in  form  and  glaze,  which  have  made  them  most  attractive 
objects  for  the  collector. 


ONOHARA   (Case  20) 

The  earliest  forms  of  glazed  pottery  were  made  in  Onohara.  Large-bodied  jars 
with  brown  glaze  and  blistered  surface  are  known  as  Ko  (old)  Tamba,  and  are  said  to 
date  back  to  1 5  50.  Specimens  are  exceedingly  rare.  Pieces  equally  old  have  reddish 
clay,  light  fawn  glaze,  with  simple  decoration  in  gray  under  the  glaze.  They  are  all 
stained  by  age,  and  bear  evidences  of  considerable  antiquity.     These  are  probably  the 


CASE    19 


2102 


2  075" 


207^ 


2103 


ZIOH 


2072 


2132 


ZIQS 


2076 to6f    2067 

2n9 


2106    2H0      2)08 


XH8      ZII3      lin 


1/21     2122 
208^ 


20^3 


Z0S7         X0?6 


20'J9 


20^7 


'•"Ul 


■>/•'>- 


li- -. A^  //^<;yov^^\\  2.13  9   p^/ 


rnTTmrrnmy*^ 


Z06S- 


-'Z)37 


2/33        zo«?r 


208^2 


2/36 


2086       213^ 


PROVINCE   OF   SANUKI 


PROVINCE   OF  TAMBA  179 

ones  mentioned  in  Tokiko  as  resembling  old  Hagi.  This  resemblance  is  doubtless 
due  to  influences  from  the  same  source,  namely,  Korea.  Tea-jars  also  were  made  at 
Onohara  before  i6cx).     These  were  glazed  in  Seto  style. 

2142.  Jar.  H.  9i  in.  Four  looped  handles  on  shoulder.  Brown  clay,  rich  brown  Seto 
glaze  with  splashes  of  lustrous  brown,  mottled  with  greenish-yellow.  Large  blisters  in 
glaze.  1580 

This  is  known  as  Ko  Tamba. 

2143.  Tea-bowl.  D.  4J  in.  Brown  clay,  thick  grayish-white  glaze,  tinged  with  color  of 
clay.     Rough  decoration  of  landscape  in  brown.  1600 

2144.  Boat-shaped  dish.  L.  9J  in.  Brownish  clay,  grayish-white  glaze,  rim  brown. 
Inside,  flowers  and  scrolls  outlined  in  blue  and  brown.     Cloth-mark  impression.  1600 

2145-  Square  dish.  W.  sJ  in.  Deep  brown  clay,  thick  grayish-white  glaze  with  dark 
gray  and  yellowish  stains.  Inside,  fish  in  bluish-gray,  rudely  drawn.  Rim  brownish- 
gray.  1600 

2146.  Rectangular  dish.  L.  6|  in.  Brown  clay,  thick  fawn  glaze  with  grayish-brown 
stains ;  rim  dark  brown.  Inside,  flowers  in  blue  and  brown.  Four  spur-marks  inside. 
Cloth-mark  impression  on  lower  surface.  1600 

2147.  Tea-bowl,  irregular  contour.  D.  5  in.  Brownish  clay,  light  fawn  glaze  with  grayish 
stains.     Sides  sliced,  base  notched,  strong  spiral  mark  below.  1600 

The  preceding  specimens  are  extremely  rare. 

2148.  Water-jar.  H.  7  in.  Vertical  sides.  Modeled  shells  as  handles.  Light  gray 
clay,  brown  glaze,  richly  mottled  with  seal-brown  and  yellow.      Surface  highly  iridescent. 

1630 

2149-  Water-jar.  H.  7|  in.  Two  long-looped  handles  on  sides  at  different  heights.  Brown 
clay,  light  brown  Seto  glaze  with  dashes  of  deep  brown  and  golden-brown,  mottled.  1660 

2150-2152.     Flower-vases  and  wine-bottle.  1670-1700 

2153-  Wine-bottle,  square.  H.  94  in.  Light  brown  clay,  light  fawn  glaze  with  streams 
of  greenish-white  overglaze.     Ornamental  designs  on  sides,  moulded.  1750 

TACHIKUI   (Case  20  and  Plate  XVI.  2x57,  2158,  2163) 

In  1660  the  Onohara  oven  was  removed  to  Tachikui,  and  here  were  made  many 
forms  of  tea-utensils  beside  the  curious  floating  wine-bottles.  These  latter  objects 
bear  a  variety  of  marks,  evidently  the  signatures  of  individual  potters  baking  in  a 
common  oven.  As  no  information  has  been  obtained  in  regard  to  these  marks  they 
will  be  considered  under  Tachikui,  as  they  were  probably  made  in  this  village.  The 
Japanese  also  recognized,  under  the  name  of  Kenjo  (/.  e.  present  to  a  superior)  Tachikui, 
pottery  of  a  more  delicate  and  refined  character.  The  two  specimens  of  this  nature 
in  the  collection  bear  a  heron,  after  Okio,  vigorously  portrayed. 

2154-  Bottle,  cylindrical.  H.  8|  in.  Brown  clay  and  glaze,  long  streams  of  lustrous 
greenish-brown  overglaze  running  to  base.  1680 


i8o  THE   CATALOGUE 

2155*  Shallow  bowl.  D.  6i  in.  Brown  clay,  light  gray  glaze,  white  overglaze  with 
grayish  tinges.  1780 

2156.     WiNE-BOTTLK     H.  s|  in.     Grayish-brown  clay,  rich  dark  seal-brown  glaze.  1800 

2157-  WiNE-BOTTLE,  elongate  oviform.  H.  7  in.  Short  neck,  flaring,  with  flexure  in  rim 
for  spout  Light  gray  clay  unglazed.  Vigorous  drawing  of  heron  in  dull  white  and  brown, 
after  Okio.     Inside,  transparent  glaze.  1815 

Type  Ninagawa.     Part  VII.,  Fig.  23. 

2158.     Mate  to  last.     Heron  in  different  attitude.  1815 

Type  Ninagawa.    Part  VII.,  Fig.  24. 

2159-  Wine-bottle.  H.  5J  in.  Brown  clay,  greenish  glaze.  Bamboo  and  figures  in  relief 
moulded.  1830 

2160.  Bottle,  flask-shaped.  H.  7^^  in.  Grayish-fawn  clay,  light  gray  underglaze,  ivory- 
white  overglaze  coarsely  crackled.     Deep  fawn  stains.  1830 

2161.  Bottle,  oviform,  body  tapering  into  long  neck.  H.  11 J  in.  Light  brown  clay, 
warm  gray  glaze.     Closely  encircling  spiral  lines  and  wavy  lines  in  white  slip.  1830 

2162.  Wine-bottle.  H.  7I  in.  Light  drab  clay,  light  gray-drab  glaze  with  darker  stains. 
Sai  (imp.).  1830 

2163.  Wine-bottle.  H.  6  in.  Grayish-drab  clay,  lower  half  light  fawn  glaze  (-i>) 
clouded.     Upper  half  rich  dark  brown  glaze  running.  1830         >--«• 

Type  Ninagawa.     Part  VII.,  Fig.  26.  ^'^^ 

2164-  Wine-bottle.  H.  6|  in.  Warm  gray  clay,  brown  glaze  beautifully  flecked  with 
darker  brown.  1830 

2165-  WiNE-BonxE.     H.  7t^  in.    Grayish  clay,  rich  lustrous  nearly  black  glaze.         1830 

2166.  WiNE-BOTTLE.     H.  i\  in.     Dark  drab  clay,  lustrous  dark  maroon 

glaze.     Ryo  (yctv^^.  1830       ^3         2S^ 

2167.  Wine -BOTTLE.     H.  76  in.    Gray  clay,  rich  lustrous  dark  brown      "^ 

\  IT-      r        \  J        ■"  2166  2167 

glaze.    Hira  (imp.).  1830 

2168.  WiNE-BOTTLE.  H.  6^  in.  Slender  neck.  Light  drab  clay,  light  yellowish-olive 
glaze.  Decoration  of  leaves  in  white  slip  with  brush-marks  in  brown.  1840 
2l6g.  WiNE-BOTTLE.  H.  5J  in.  Thick  and  heavy.  Reddish-brown  clay,  thick,  very  light 
fawn  glaze.     Characters  incised  on  side.    Jin  (imp.).                          1840 

2170.  WiNE-BOTTLE.     H.  6f  in.     Light  gray  clay,  seal-brown   glaze. 
Jin  (inc.).  1850 

2171.  Jar.     H.  7f  in.    Dark  drab  clay,  warm  gray  glaze  with  splashes  ^^^^ 
of  white  and  olive-brown  overglaze,  running.                                         1850 

2172.  Bottle,  body  six-sided.  H.  8f  in.  Light  drab  clay,  light  gray  glaze.  Hotel  and 
chrysanthemums  on  opposite  sides  in  white,  stenciled.  1850 

2173.  Bottle.  H.  6|  in.  Drab  clay ;  lower  half,  drab  glaze ;  upper  half,  thick  white 
glaze  with  splashes  of  dark  brown.  i860 


*i 


PROVINCE   OF  TAMBA 


i8i 


NAOSAKU   (Case  20  and  Plate  XVI.  2175) 

In  183  s  Masamoto  Naosaku  made  oil-bottles,  but  more  particularly  wine-bottles 
of  a  peculiar  form,  so  that  when  filled  with  wine  they  would  float  in  hot  water. 
Similar  forms  have  already  been  described  above.  These  bear  the  definite  mark 
Naosaku,  and  his  work  may  properly  be  separated  from  similar  pottery  classified  as 
TachikuL 


Dark  drab   clay,   olive-green   glaze   with    splashes  of 

183s 
Around 


2174*     Wine  -  BOTTLE.     H.   6  J   in. 
reddish-brown.     Naosaku  (imp.). 

2175.  Wine-bottle.     H.  6|  in.     Dark  drab  clay,  thick  white  glaze   clouded, 
shoulder  light  olive-green   glaze  running,  beautifully  mottled  with  dark 
green  and  red.     Naosaku  (imp.).  1835 

2176.  WiNE-BOTTLE,  double  gourd-shaped.     H.  6  in.    Thick  and  heavy. 
Grayish-drab  clay  with  reddish  tinges,  unglazed.    Naosaku  (imp.).        1835 

The  following  objects  bear  the  marks  Mosaku  and  Konosakti. 
They  are  probably  related  to  Naosaku,  but  no  information  is  at  hand  in  regard  to 
them,  and  they  will  be  included  under  Naosaku  provisionally. 

2177.  WiNE-BOTTLE.    H.  6J  in.    Gray-drab  clay,  dark  slate  glaze  mottled 


2175 


2176 


Mosaku  (inc.). 
1850 


2178.  Bottle,  with  curved  handle  and  long  nozzle.  H.  6J  in. 
Light  gray  clay,  very  light  gray  glaze,  spotted  with  brown  above, 
Konosaku  (imp.).  i860 

2179'  Bottle,  curved  handle  and  nozzle.  H.  7  in.  Warm 
light  gray  clay  and  glaze.     Konosaku  (imp.).  i860 


2177 


2178 


2179 


2180.  Wine-bottle,  double  gourd-shaped,  sides  indented.    H.  gf  in.    Gray-drab  clay,  rich 
lustrous  brown  glaze.     Kono  (imp.).  i860 

2181.  Wine-bottle.     H.  i\  in.     Light  gray  clay,  thick  white  glaze. 
Hinoshita  ichi  Kono  (imp.).  i860 

2182.  Wine-bottle,  double  gourd-shaped.  H.  9J  in.  Neck  cut  obliquely.  feV^ 
Moulded  figure  of  Hotel  applied  on  side.     Reddish-drab  clay,  thick  gray  \f\i 
glaze.     On  shoulder  white  glaze  clouded ;    on  neck  rich  bluish  -  green 
glaze.     Hinoshita  ichi  \Fusa  ?]  (imp.).  2,81 


I 


2182 


TAMBA   IN   GENERAL   (Case  20  and  Plate  XVL  2215) 

Under  the  name  Tamba  are  included  all  the  tea-jars  and  a  number  of  other  objects 
of  which  the  place  of  baking  is  uncertain. 

2183-     Tea-jar.     H.   \\   in.     Brown   clay,  rich   brown   glaze   with   darker   brown   areas, 
blistered.     Known  as  Ko  Tamba.  iSS" 

2184-2186.     Ko  Tamba  tea-jars.  1550-1580 

2l87>     Tea-jar.     H.  i-^-^  in.     Brown  clay,  brown  glaze  mottled,  large  area  of  greenish  ovei^ 
glaze.     Band  of  knobs  around  middle.     Peculiar  form.  1600 


XT- 


"r    THE  \\ 

UNIVERSITY    )) 


■OrtN\' 


CASE   20 


Zl'iZ 


1Z30 


ZCfS 


Zli'O 


2Z39 


2IS:S 


ilS-3       2(S-7 

2118.       5^       57  ^'■'J'    2,'^^ 


llh'i        XI.68        220Z     22(tr      ZZl"*      Xllb     liiO       IISS    1107     US'!       ZUZ 


Z/61 


2li-3 


2-167      1165 


2166 


M77     ZI70    zn**      2-'''*" 


2162       2181 


ai0  9 


Zi8o  zni         znz 


2152 


XZ06       X^'3       Zia*!  ^20)        t^QO       Zl*?!!'       Zl'iiS 


Z2IS     2/8?     ZI98    Xiy/ 


PROVINCE  OF  TAMBA 


PROVINCE    OF  OWARI  183 

probably  is  that  Kyoto,  being  the  art  capital  of  the  empire,  the  former  resi- 
dence of  the  Mikados  and  court  nobles,  with  all  the  elegance  and  luxury 
accompanying  their  surroundings,  the  potters  possessed  an  added  dignity 
by  being  within  this  great  circle.  Owari,  on  the  other  hand,  with  its  small 
and  scattered  villages  of  Tokoname,  Akatsu,  Inuyama,  Narumi,  represented 
the  country,  so  to  speak.  The  capital  of  Nagoya,  a  great  commercial  city, 
did  no  more  to  foster  the  potter's  art  than  did  commercial  Osaka  or  Tokyo. 
Outside  the  oven  established  under  princely  patronage  in  the  castle  of 
Nagoya,  this  city  has  hardly  produced  a  potter  whose  name  is  worth  pre- 
serving. Gempin,  it  is  true,  worked  in  Nagoya,  but  he  came  from  abroad. 
Nagoya  being  the  centre  of  distribution  of  the  "  blue  and  white  "  industry 
of  Seto,  has  availed  itself  of  these  avenues  to  foist  on  the  market  discredit- 
able imitations  of  Kaga,  certain  kinds  of  Kyoto,  and  other  pottery.  It  has 
been  difficult,  and  in  some  cases  impossible,  to  ascertain  the  history  of 
certain  signed  pieces  by  no  means  uncommon,  many  of  which  are  of  fair 
age  and  quality.  As  an  example,  the  well  known  mark  of  Shuntai  is  seen 
on  a  variety  of  forms,  yet  I  have  never  met  with  a  Japanese  expert,  even 
in  Owari,  who  could  tell  me  whether  there  was  one  or  several  generations 
of  this  family;  and  as  to  the  relations  of  Shuntan,  Shunzan,  and  many 
other  Shuns,  whose  various  essays  bear  the  mark  of  strength  and  origin- 
ality, the  testimony  varies  as  much  as  the  pottery.  A  variety  of  opinions 
may  be  gathered,  from  sources  apparently  trustworthy,  in  regard  to  nearly 
every  kind  of  pottery  in  the  province.  Even  Toshiro,  the  "father  of 
pottery  "  in  Japan,  to  whom  a  monument  has  been  erected  in  Seto,  comes 
in  for  this  share  of  doubt.  A  recent  native  authority  says  that  the 
opinions  vary  even  as  to  the  manner  in  which  Toshiro  acquired  his  know- 
ledge of  the  art.  (See  Toshiro.)  These  statements  are  made,  not  as  an 
excuse  for  the  very  imperfect  and  fragmentary  history  of  Owari  potters  here 
presented,  but  rather  to  show  the  disjointed  and  unreliable  material  that 
one  must  study  to  gain  even  a  glimmer  of  light  regarding  the  early  Owari 
potters,  their  dates,  and  their  relation  to  one  another.  Only  those  who  have 
pored  over  the  vague,  confused,  and  unsystematic  methods  of  native 
chroniclers  will  appreciate  the  difficulties  of  straightening  out  the  tangled 
mass  of  misinformation. 

TOSHIRO   (Case  21  and  Plate  XVII.  2240,  2241,  2242,  2243,  2244,  2252,  2253) 

The  "  Father  of  Pottery,"  Toshiro,  as  he  is  known  in  Japan,  erected  an  oven  in 
the  village  of  Seto  in  the  early  part  of  the  thirteenth  century.  Of  this  fact  there  can 
be  no  doubt.  The  accounts  vary  greatly  as  to  his  life  and  the  influences  that  led  him 
to  become  a  potter.     One  opinion  is  that  the  Shogun  ordered  Kato  (the  head  of  the 


i84  THE   CATALOGUE 

family  to  which  Toshiro  belonged)  to  make  tea-bowls  and  other  forms,  and  througn 
these  efforts  Toshiro  acquired  the  art.  Another  opinion  is  that  in  12 14  one  Eisei 
returned  from  China,  bringing  home  the  art  of  pottery-making,  which  he  imparted  to 
Toshiro.  Yet  another  account,  and  the  usually  accepted  one,  is  that  after  Toshiro 
learned  the  rudiments  of  the  art,  he  went  to  China,  and  there  acquired  a  full  know- 
ledge of  all  the  secrets  of  the  potter,  and  upon  his  return  brought  back  clay  and 
glazing  materials,  from  which  the  early  pieces  accredited  to  him  were  made.  The 
great  historian,  Rai  Sanyo,  says  that  in  the  time  of  the  Ashikaga  Shogunate,  Shiro,  of 
Seto  (Toshiro),  imitated  foreign  glaze  and  methods,  and  gives  a  much  later  date  than 
that  usually  ascribed  to  Tdshiro. 

It  is  perhaps  safe  to  say  that  Kato  Shirozayemon,  a  young  potter  of  Seto,  made  a 
perilous  voyage  to  China  in  the  year  1223  for  the  sole  object  of  learning  the  secrets  of 
the  potter's  art,  that  he  remained  in  China  six  years,  and  on  his  return  brought  back 
with  him  clay  and  glazing  materials.  The  records  say  that  even  on  shipboard  he 
made  a  few  bowls.  A  monument  erected  to  his  memory,  in  Seto,  records  that  Toshiro 
as  a  boy  was  fond  of  modeling  in  clay  and  making  earthen  vessels,  and  always  lamented 
that  his  skill  was  inferior  to  that  of  foreign  potters.  On  his  return  from  China  he 
traveled  extensively  in  search  of  proper  materials,  and  after  testing  clays  in  various 
places  he  finally  discovered  a  clay  of  the  right  quality  in  Seto.  The  name  Toshiro  is 
compounded  of  the  last  character  of  his  name  Kato,  and  the  first  character  of  Shiro- 
zayemon. His  name  is  justly  honored  in  Japan,  and  pieces  attributed  to  his  hand  are 
deservedly  held  in  the  highest  veneration.  Only  those  animated  by  the  true  spirit  of 
a  collector  can  appreciate  this  feeling,  as  witness  in  Europe  the  eager  competition 
for  early  printed  books,  rude  wood  cuts,  and  primitive  essays  of  early  ovens.  All  the 
types  of  Toshiro  and  his  successors,  as  figured  by  Ninagawa,  are  with  but  one  excep- 
tion in  this  collection.  A  water-jar  figured  by  Ninagawa  is  said  to  have  been  made 
by  Toshiro  before  he  went  to  China.  It  was  baked  upside  down,  the  rim  being 
ground  after  baking  to  remove  the  dripping  glaze.  The  specimen  certainly  bears 
evidence  of  great  age.  The  two  tea-jars  attributed  to  Toshiro  also  bear  indications 
of  high  antiquity.  The  one  with  brown  spots  of  glaze  on  a  crackled  yellow  glaze  is 
unique.     The  tea-jar,  Cat.  No.  2242,  has  been  repeatedly  imitated  in  every  century. 

2240.  Water-jar.  H.  6f  in.  Hard  brown  clay,  underglaze  transparent,  thin  brown  over- 
glaze,  flecked  with  golden -brown  areas.  Baked  upside  down.  Rim  ground.  Roughly 
potted,  much  worn.     Said  to  have  been  made  by  Toshiro  before  he  went  to  China.  1200 

Type  Ninagawa.     Part  II.,  Fig.  14. 

2241.  Tea-jar.  H.  2  J  in.  Brown  clay,  brown  glaze,  richly  mottled  with  dark  brown.  Fine 
left-hand  thread-mark.  1230 

Type  Ninagawa.     Part  II.,  Fig.  15. 

2242.  Tea-jar.  H.  i\  in.  Fine  reddish-brown  clay,  lustrous  reddish-brown  glaze.  Fine 
left-hand  thread-mark.  1230 

Type  Ninagawa.     Part  II.,  Fig.  16. 

2243.  Tea -jar.  H.  2^  in.  Dark  gray  clay,  dark  brown  glaze  with  yellowish  tinges. 
Roughly  made.     Fine  thread-mark.  1230 

Type  Ninagawa.     Part  II.,  Fig.  17. 


PROVINCE    OF  OWARI  185 

2244*  Tea-jar.  H.  i|J  in.  Grayish-brown  clay,  brown  glaze  mottled  with  darker  brown. 
Evidences  of  looped  knobs  ground  away.     Coarse  thread-mark.  1230 

Type  Ninagawa.     Part  II.,  Fig.  18. 

2245-2251.     Tea-jars  of  ist  Toshiro.  1230 

2252.  Globular  tea-jar.  H.  aj  in.  Thin  walls.  Fine  brown  clay,  straw-colored  under- 
glaze  with  light  bluish  tinges,  coarsely  crackled.  Irregular  splashes  of  dark  brown  glaze. 
Transparent  overglaze.     Smooth  bottom.  1240 

Type  Ninagawa.     Part  II.,  Fig.  19.  ^ 

2253-  Globular  tea-jar.  H.  2\  in.  Thin  walls.  Fine  brown  clay,  lustrous  brown  glaze 
strongly  mottled  with  dark  seal-brown.     Fine  left-hand  thread-mark.  1240 

Type  Ninagawa.     Part  II.,  Fig.  20. 

2254*  Tea-jar.  H.  2\  in.  Light  fawn  clay,  straw-colored  underglaze,  irregular  splashes 
of  dark  brown  glaze.     Smooth  bottom.  1240 

Gift  of  Henry  J.  Bigelow. 

SUCCESSORS   OF   TOSHIRO  (Case  21  and  Plate  XVII.  2255,  2256,  2257) 

It  seems  almost  hopeless  to  attempt  to  divide  the  unquestionable  antiques  among 
the  Seto  tea-jars  and  allot  them  to  their  respective  makers.  The  types  figured  by 
Ninagawa  were  accompanied  by  documents  probably  attesting  to  their  origin.  The 
resemblance  of  these  types  to  tea-jars  which  I  have  seen  in  the  collections  of  the  prince 
of  Kuroda,  the  governor  of  Yatsushiro,  and  others,  is  a  further  proof  of  the  correctness 
of  these  attributions.  If  the  third  generation  of  Toshiro  had  made  only  the  kind 
known  as  Kinkazan,  and  the  fourth  generation  had  made  only  the  type  known  as  Hafu- 
gama,  the  difficulties  would  be  less,  but  these  two  potters  by  no  means  confined  their 
work  to  one  kind  of  tea-jar.  Furthermore  these  kinds  have  been  made  in  every  suc- 
ceeding century.  The  difficulties  with  first  and  second  Toshiro  are  equally  great. 
The  custom  of  the  Japanese  antiquarian  of  identifying  all  tea-jars  within  two  hundred 
years  of  Toshiro's  time  as  hon  no  mono  (true  thing)  Toshiro  does  not  render  the  task 
any  easier.  Such  as  can  be  with  any  reason  of  probability  catalogued  under  first 
Toshiro,  second  Toshiro,  third  Toshiro,  and  fourth  Toshiro  (Tosaburo),  will  be  so 
catalogued  with  no  assurance  that  others  will  not  be  inclined  to  modify  the  sequence. 

SECOND   TOSHIRO 

2255.  Tea-jar.  H.  2  J  in.  Dark  brown  clay,  brown  underglaze  with  splash  of  dark  brown 
and  light  fawn  overglaze.     Smooth  bottom.  1250 

Type  Ninagawa.     Part  II.,  Fig.  21. 

THIRD   TOSHIRO  (T5jiro) 

2256.  Tea-jar.  H.  2f  in.  Reddish-brown  clay,  lustrous  deep  brown  glaze  mottled  with 
golden-brown.  1300 

Type  Ninagawa.     Part  II.,  Fig.  23. 

2257.  Tea-jar.  H.  2J  in.  Light  brown  clay,  reddish-brown  glaze  with  darker  brown 
areas.  1300 

Type  Ninagawa.     Part  II.,  Fig.  24. 


i86  THE   CATALOGUE 

2258.    Tea-jar,  similar  to  last.  1300 

FOURTH  TOSHIRO  (Tosaburo)  (Case  21  and  Plate  XVII.  22.59,  2260,  2265) 

2259'     Tea-jar.     H.  3J  in.     Light  brown  clay,  fawn  glaze  richly  mottled.     Roughly  made. 
Type  Ninagawa.     Part  II.,  Fig.  25.  1350 

2260.  Tea-jar.  H.  3  in.  Fine  warm  gray  clay,  light  reddish-brown  glaze  with  lighter  over- 
glaze.     Smooth  bottom.  1350 

Type  Ninagawa.     Part  II.,  Fig.  28. 

This  is  known  as  Nochi  Junkei. 

2261-2264.    Tea-jars,     Similar  to  last.  1480 

2265-  Tea-jar.  H.  2|  in.  Light  brown  clay,  dark  brown  glaze  blistered.  Coarse  double 
thread-mark.  1480 

Type  Ninagawa.     Part  II.,  Fig.  26. 

Known  as  Sobokai.     Not  to  be  confounded  with  later  Sobokai.     See  No.  2728. 

2266.     Tea-jar.     H.  2|  in.     Light  brown  clay,  purplish-brown  glaze,  splash  of  darker  over- 
glaze.     Rough  surface.  1480 
Known  as  Sobokai. 

2267-2287.     Tea-jars,  variously  identified  as  ist,  2d,  and  3d  Toshiro.  1250-1380 

2288.     Tea-jar.     H.  3J  in.     Dark  brown  clay,  dark  purplish-brown  glaze  with  two  rows  of 
irregular  splashes  of  mottled  fawn  overglaze. 
This  tea-jar  is  known  as  Daikakuji. 

2289-2298.    Tea-jars.     Similar  to  last.  1380 

HAFUGAMA  (Case  21) 

2299.  Tea-jar.  H.  3J  in.  Light  brown  clay,  light  brown  glaze,  light  fawn  overglaze. 
Roughly  made.  1480 

The  outline  of  the  glaze  below  forms  a  fanciful  resemblance  to  the  end  of  the  roof  (Hafu) 
of  a  Japanese  house. 

2300.  Tea-jar.    Similar  to  last.  1480 

ASAHI   SHUNKEI  (Case  21) 

2301.  Tea-jar.  H.  3I  in.  Brownish  -  drab  clay,  brown  glaze  mottled  with  touches  of 
darker  glaze  on  side.  1480 

2302.  2303.    Tea- JAR,  same  as  last.  1480 

TOBI-KUSURI  (Case  21) 

2304.  Tea-jar.  H.  2\  in.  Gray  clay,  brown  glaze,  strongly  mottled  with  splashes  of 
golden-brown  overglaze  running  into  dark  drops  on  unglazed  surface.  Smooth  bottom.  A 
peculiar  appearance  in  the  glaze  is  said  to  be  due  to  gold.  1480 

The  name  Tobi-kusuri  (jumping  glaze)  refers  to  the  successive  splashes  of  overglaze. 
Many  of  the  objects  are  very  beautiful. 


PROVINCE    OF  OWARI  187 

2305*     Tea-jar.     H.  3J  in.     Light  fawn  clay,  brown  glaze  with  irregular  splashes  of  golden- 
brown  overglaze.  1480 
This  is  the  typical  form, 

2306—2313.     Various  forms  of  Tobi-kusuri  tea-jars.     231  i  has  concentric  circles  cut 
on  bottom,  the  others  have  smooth  bottoms.  1480 

KINKAZAN   (Case  21) 

2314.    Tea-jar.     H.  3J  in.     Reddish-brown  clay,  rich  brown  glaze  with  splash  of  dark 
brown  overglaze  running.  153° 

Kinkazan  refers  to  name  of  oven. 

2315-2318.    Tea-jars,  similar  to  above.  1580-1680 

TAMAGAWA   (Case  21) 

2319-  Tea-jar.  H.  3  in.  Fawn  clay,  dark  brown  glaze  with  large  area  of  golden-brown 
glaze.  1580 

SETO   (Case  21) 

2320-2376.    Tea-jars.  1400-1500 

Among  these  are  many  rare  shapes  and  glazes. 

2377-2390.    Tea-jars.  1530-1580 

239^'     Tea-jar.     H.  2,%in.    Fine  reddish  clay,  light  olive  glaze  on  one  side.    Inside,  olive- 
brown  glaze,  deep  vertical  incised  marks  on  body.     Band  of  knobs  about  neck.  1580 
This  tea-jar  is  known  as  Majuko. 

2392.  Tea-jar,  tall  and  slender.  H.  4  in.  Brownish-fawn  clay,  seal-brown  glaze  beauti- 
fully mottled.     Bottom  concave  and  smooth.     Rare  form.  1580 

2393-2492.    Tea-jars.  1580-1800 

2493— 2505.  These  numbers  include  a  form  of  tea-jar,  tall,  irregularly  cylindrical  in  shape, 
sides  usually  sliced  or  cut.  Rude  designs  in  brown  with  dashes  of  white  glaze  occurring  on 
some  and  many  with  incised  lines  on  bottom.     These  are  usually  known  as  Seto  Oribe. 

1580-1850 
CHINESE    BOWLS   (Case  21) 

The  three  following  bowls,  exhibited  with  the  early  Seto,  were  made  during  the 
Sung  dynasty  at  a  place  called  Kien-gan  in  China.  Captain  F.  Brinkley,  in  a  cata- 
logue of  pottery  exhibited  by  him  at  the  Boston  Museum  of  Fine  Arts  in  1886,  says 
that  the  work  flourished  until  the  close  of  the  Yuen  dynasty  of  the  Mongols  (1270- 
1367).  The  bowl  catalogued  2505^  dates  from  1250  to  1300,  and  is  known  as  Kien-yo. 
The  bowls  2505^  and  2505^  are  known  as  Temmoku,  andareprobably  of  thesame  period. 
These  Chinese  bowls  are  introduced  in  this  place  to  illustrate  types  of  pottery  which 
served  as  models  for  Toshiro  and  the  early  Seto  potters,  and  which  they  despairingly 
sought  to  imitate.  It  is  needless  to  say  that  the  peculiar  technique  displayed  in  glaze 
and  decoration  has  never  been  approached  by  the  Japanese  potter.  Indeed  the  Chinese 
potters  have  never  been  able  to  imitate  these  old  pieces,  and  objects  of  this  nature  are 
of  great  rarity. 


i88  THE   CATALOGUE 

2505^.  Bowl,  small  base,  flaring  sides.  D.  5I  in.  Very  light  and  thin.  Fine  grayish- 
fawn  clay,  deepest  rich  brown  glaze.  Outside,  round,  comma-shaped,  and  irregular  spots  of 
fawn  glaze.  Inside,  closely  sprinkled  with  fawn  glaze  with  spray  of  plum  blossoms  and 
mythological  bird  in  deep  brown  made  with  stencil.  1 250-1300 

Gift  of  W.  S.  Bigelow. 

2505^.     Bowl,  with  brass  rim.    D.  4I  in.    Thick  and  heavy.     Deep  brown  clay,  rough  sur- 
face, thick  light  brown  glaze  with  fine,  long  running  streaks  of  blackish-blue  inside  and  out, 
on  outside  accumulating  in  thick  drops  at  edge  of  glaze  below,  and  inside  forming  a  uniform 
thick  mass  of  nearly  black  glaze  on  bottom. 
Gift  of  W.  S.  Bigelow. 

2505*^.     Bowl,  small  base,  flaring  sides.     D.  8^^  in.   Thick  and  heavy.     Deep  brown  clay, 
thick  bluish-black  glaze  flecked  with  light  blue  streaks  merging  into  brown  on  rim. 
Gift  of  Denman  W.  Ross. 

SETO   (continued) 

2506.  Tea-bowl,  with  metallic  rim.  D.  4I  in.  Brown  clay,  strongly  mottled  brown  under- 
glaze.  Middle  glaze  lighter  brown  strongly  mottled  with  very  dark  brown.  Around  rim 
inside  and  out  thick  grayish-yellow  overglaze  running.  1380 

2507*.     Incense-burner.     D.  2\  in.  1380 

2508  .  Jar.  H.  II  in.  Four  looped  handles.  Light  brown  clay,  rich  light  brown  glaze 
with  large  splashes  of  thick  dark  brown  overglaze  flecked  with  fawn.  This  is  known  as  Ko 
Seto.  1400 

2509.  Tea-bowl,  irregular  in  shape.  D.  5^  in.  Light  drab  clay,  thick  light  fawn  glaze  inter- 
mixed with  golden-brown,  flecked  with  blue,  strongly  iridescent.  1400 

2510.  Double  gourd-shaped  bottle.  H.  9  in.  Dull  brown  clay,  rich  mottled  brown 
underglaze,  thick  deep  fawn  overglaze  running  nearly  to  base,  slightly  iridescent.  1480 

Gift  of  Miss  Lucy  Ellis. 

2511.  Shallow  tea-bowl.  D.  6|  in.  Reddish-brown  clay,  rich  brown  glaze,  strongly 
marked  with  irregular  splashes  of  dark  brown  and  golden-brown  glaze  inside  and  out.      1480 

An  exceedingly  rare  object. 

2512.  Cup,  six-sided.     D.  2f  in.     Clay  and  glaze  similar  to  last.  1480 

2513-  Shallow  bowl,  with  deep  constriction  midway  showing  two  curves  in  profile. 
D.  7J  in.  Warm  gray  clay.  Inside,  green  glaze  flecked  with  greenish-blue,  circular  inter- 
space inside  unglazed.    Rare  form  copied  from  Korean  model.   (See  Catalogue,  No.  70.)    1500 

2514-  Bottle.  H.  7I  in.  1580 
2515*  Beaker.  D.  5  in.  Very  thick  and  heavy.  Light  gray  clay,  thick  richest  dark 
brown  glaze.  Outside,  strong  oblique  and  vertical  lines  in  series,  deeply  incised,  leaving 
interspaces  of  flowers.                                                                                                                 1580 

2516.  Bottle.  H.  6J  in.  Thick  and  heavy.  Two  looped  handles.  Brown  clay  and 
glaze,  with  large  areas  of  dark  brown  overglaze,  flecked  with  golden-yellow,  strongly  irides- 
cent. 1580 

2517.  Deep  bowl.     H.  sJ  in,  1580 


a'ff'- 


NiVt.  SHY    )) 


CASE    21 


J^. 


;-ry,j. 


y:u' 


X-iXX  ZS37 


2S13 


zsoa 


zvaz 


I'SIH 


ZS3k 


2530 


2S-05C 


2,S-0«r 


Z6-I0 


<^^(^^'^J 


^^'^^    ii^^    'jP^  2M3  ims-  aijrr  j^yj 


/        zi«   zzv;3    ^^^    az^3   ii_si  i^lI 


2ZT7  «S»      1ZS8     1167        21T1      aZ88  IZ^fO  XlsV      X2.4'<»      ZZV7     WS9       2260       11 64* 

il56  ....   ....  13^7     15, g   jj,^  j^j,^       1300    t„, 


2.3)1 


,^ 


1311 


>^    /"""^    '^ '«''''     "'3    1311      -SS     ,iS,        nTtn, 


-*rvivr<«6 


13S3       ISH     IHil      ZJitJ    ZJ'tl      1168     USI        16-a  1JV6      13S3       2580     138V      llS-f    l-jife      i^ST 

IV.<0     11"   ,,^,  l-jii   "f^    ^1*1  ISll 


^P^  ^^   13VT    "£3-1     "'"•''   ^ISf"    '^^''■''    /H^ 


U(» 


•\3'     Zli-6   13«-    llrt    U?3 


i3Br  1JV8  lis?  lasi-  ijj-oi'fis  mj  iibi       isi3 


r^ 


X2yi     iisi     ^-^^     ^— ^  \? 


1172       1170  13'fO     2266     i3lo     isy<i      1171     IVVS     Z169   I'rlS    I'rt^ 


PROVINCE  OF  OWARI 


PROVINCE   OF  OWARI  189 

2518.  Tea-bowl,  supported  on  three  rude  legs.  D.  4  in.  Drab  clay,  thick  yellowish-gray 
glaze,  pitted  and  coarsely  crackled.     Made  of  Narumi  clay.  1580 

Rare  form. 

2519.  Cake-dish.     D.  8J  in.  1580 

2520.  Shallow  bowl.     D.  4  in.     Fine  brown  clay,  rich  finely  mottled  brown  glaze.     1580 
Also  identified  as  Kinkazan,  an  early  Seto  oven. 

2521.  Ink-stone.  D.  6|  in.  Hard  gray  clay  with  brown  surface,  olive-brown  glaze  with 
darker  areas.  1580 

2522.  2523.    Water-jars.  1630 

2524.  Cup.  1630 

2525.  Bowl.  D.  4J  in.  White  clay,  thick  dead  white  glaze.  Decoration  of  flowers,  scrolls, 
and  fret  in  light  blue.  1650 

2526.  Bowl,  six-sided.  D.  6^  in.  Moulded.  Thick  and  heavy.  On  outside  three  butter- 
flies in  high  relief.     Light  fawn  clay,  dark  glistening  yellow  glaze.  1680 

2527.  Bowl.  D.  4  in.  Hard  light  reddish-brown  clay,  olive-gray  glaze,  large  area  of 
white  overglaze,  upon  which  is  decoration  of  leaves  in  brown  and  dull  blue.  1680 

2528.  Flaring  bowl.  D.  si  in.  Gray  clay,  firm  light  gray  glaze,  rough  decoration  of  tree 
in  dark  gray.     Delicate  basal  ring.  1680 

Rare  object. 

2529-2547-    Jars,  bowls,  etc.  1680-1780 

2548.  Water-jar.  H.  si  in.  Thick  and  heavy  looped  handle  on  cover.  Light  gray  clay, 
greenish-gray  celadon  glaze.     Dragon  roughly  carved  on  surface.     Strongly  turned.         1780 

This  has  also  been  identified  as  Izumo. 

2549.  Round  incense-box.  D.  2{  in.  Dragon  fly  modeled  in  relief  on  cover.  Light 
brown  clay,  brown  glaze  mottled  with  dark  brown  and  fawn  overglaze.  Wings  of  insects 
unglazed.  The  box  containing  this  object  had  written  upon  it,  "Copy  by  Chojiro  of  the 
Kogo  made  by  noted  maker  Togoro,  of  Seto,  the  original  belonged  to  Prince  of  Owari." 

1780 

2550-2579.     Bowls,  plates,  jars,  bottles,  flower-vases,  figures,  etc.  1 780-1870 

2580-2608.  The  following  pieces  of  Seto,  consisting  of  incense  -  boxes,  cake-plates, 
covered  bowls,  beakers,  bottles,  etc.,  are  signed  with  the  impressed,  written,  or  incised 
marks  of  Shigenori  (2580),  Uma  (2581),  Sei  (2S82),  Rikishin  (2S83),    ?  (258s*),  Ko  (2586*), 


^ 


>• 


If  ,j| 


2580  »s8a  2383  «S8S  2586 


»9» 


THE   CATALOGUE 


Kano  (2587),  Kinoye-ne  (2588),   Densho   (2589),  Shin   itsu  sei  (2590),    Shunsendo   (2591), 
Sakusuke  sei  (2592),  Hanji  (2593),   Kiyohiro   (2594),   Magoku   (2596),   Kuyemon   (2597), 


^ 


2591  2592  2593         2594 


2596 


Shunyetsu  (2598),  Bunshi  (2599),  Toyotsune  (2600),    Hachi-ju-ichi-o  and  Bakesuke   (2601*), 
Makusa  ?  (2602),   Shunka    (2603),    .S/4««    //j-m    (2604),    Akebono    (2605),    Shimon    (2606), 


+ 


2598         2599        2600 


2601 


afet 


2605 


2606 


2607 


2608 


Bunro  (2607),  and  Yamaguchi  (2608).  Some  of  these  are  not  on  exhibition,  and  the  marks 
of  2581,  2590,  2597,  2602,  and  2603,  are  not  figured.  They  are  simply  identified  as  Seto. 
No  information  is  at  hand  as  to  the  potters  or  their  place  of  baking.  A  few  have  Shino 
glaze,  others  are  typical  Seto.  1 780-1880 

SETOSUKE     (Case  24) 

A  rough-looking  bowl  with  thick  rim,  having  Seto  clay  and  glaze,  bears  the  im- 
pressed mark  Setosuke.  The  mark  is  quite  different  from  the  Setosuke  of  Echizen, 
and  the  pottery  widely  different.  It  is  possible  that  the  piece  represents  the  work  of 
Setosuke  in  Seto,  where  he  worked  before  he  went  to  Echizen.  It  is  placed  here 
provisionally. 

2609.     Bowl.     D.  6J  in.     Thick  and  heavy,  roughly  turned.      Hard  dark  brown      j** 
clay,  brown  glaze,  with  olive-brown  overglaze  running  in  dark  brown  streams.  vy 

Setosuke  (imp.).  1650      ^« 

2609 
SHINO    (Case  22  and  Plate  XVIII.  261 1,  2618,  2624) 

Pottery  commonly  known  as  Shino  is  a  rough  hard  pottery  with  coarse  white 
crackled  glaze,  and,  if  decorated,  showing  hasty  brush-marks  in  black.    The  work  is 


W     U  N »  •/  ■  •      >"      / 

usually  seen  in  the  shape  of  bowls,  plates,  and  incense-boxes,  rarely  water-jars,  tea-jars, 
or  bottles.  The  earliest  forms  look  archaic,  and  some  of  them  are  attractive  from  their 
quaint  and  distinctive  qualities.  Records  state  that  the  earliest  pieces  recognized  under 
the  name  of  Shino  date  back  to  1700  or  before,  and  are  due  to  Shino  Saburo  or  Shino 
Oribe  (pseudonym  Shino  So-on),  a  tea-lover  who  made  them  by  order  of  his  prince. 
The  type  of  pottery  must  have  been  made  long  before  this  date,  as  the  gray,  white- 
inlaid  Shino  is  accorded  an  age  of  three  hundred  and  fifty  years.  The  older  pieces  are 
very  thick  and  heavy.  The  name  Shino  Oribe  is  usually  applied  to  objects  departing 
somewhat  from  the  black  decorated  ones  in  being  less  rough  and  heavy  and  in  having 
brown  decoration  with  splashes  of  green  glaze.  Red  Oribe  is  still  more  refined,  and 
has  a  dull  or  rich  orange-red  glaze  with  slight  decoration.  Black  Oribe  is  also  known 
on  account  of  its  black  glaze  with  white  decoration.  The  names,  Seto  Oribe,  Akatsu 
Oribe,  Narumi  Oribe,  etc.,  are  applied  to  forms  supposed  to  be  made  after  Oribe's  taste 
in  these  respective  places.  The  productions  within  the  last  hundred  years  have  hope- 
lessly confounded  all  these  distinctions.  Shino,  as  known  by  the  Japanese  to-day,  is  a 
typical  form,  the  minor  distinctions  are  not  of  sufficient  interest  to  separate,  and  all 
pieces  may  be  roughly  classed  as  Shino. 

2610.  Deep  cup,  square,  corners  grooved.  H.  3!  in.  Hard  stone  clay,  coarsely  crackled. 
Leaves  and  grasses  in  white  Mishima.  1530 

2611.  Square  tray.  W.  9  in.  Flaring  sides.  Thick  and  solid.  Hard  stone  clay,  thick 
dark  gray  glaze,  coarsely  crackled.     Leaves  and  border  in  white  Mishima.  1530 

The  two  preceding  objects  are  exceedingly  rare.     They  have  been  identified  as  Shino 
Sotan. 

2612.  Similar  to  last.  1630 

2613.  Tea-bowl.  D.  5J  in.  Light  brown  clay.  Oblique  parallel  lines  at  various  angles 
strongly  incised  in  white  Mishima  inside  and  out.  •  1650 

2614— 2616.     Tea-jars  and  shallow  bowl.  1580-1600 

2617.  Cake-dish.  D.  6f  in.  White  clay  and  glaze.  Inside,  rude  decoration  of  flowers, 
bands  and  birds  in  dark  brown.  1600 

2618.  Bowl,  beaker  form.  D.  5J  in.  Fawn  clay,  white  glaze.  Vertical  brush-marks, 
inside  and  out,  of  yellow,  bluish-green,  and  brown.  •  1600 

Type  Ninagawa.     Part  V.,  Fig.  27. 

2619.  Tea-bowl,  1630 

2620.  Single  flower  -  holder,  double  gourd-shaped,  irregular  in  form.  H.  3I  in. 
White  clay,  white  Shino  glaze,  zigzag  lines,  encircling  bands,  and  circles  in  brown.  1630 

2621.  Tea-bowl.  D.  5^  in.  Thick  and  massive.  Light  fawn  clay,  thick  white  Shino 
glaze,  coarsely  pitted  and  crackled.  1630 

2622.  Tea-bowl.      D.  4J   in.     Whitish-fawn    clay,   white  Shino  glaze,   vertical 
brush-mark  and  diaper  in  bluish-gray.     Hiaku  (inc.).  1650 

2623.  Comfit-bottle.  1650       2622 


^ 


I9«  THE  CATALOGUE 

2624.  Tea-bowl.  1680 

2625.  Incense-box  (duck).  L.  3  in.  Gray  clay  and  glaze,  beak  and  wing  touched  with 
brown.  1680 

A  beautiful  example  of  modeling. 

2626.  Square  cake-tray,  opposite  corners  squarely  indented.  W.  8^  in.  Light  brown 
clay,  warm  gray  glaze.  Rough  decoration  inside  and  out,  in  green,  red,  black,  blue,  and 
yellow-  1680 
2627-2630.  Cake-dish,  incense-box,  bowl  with  perforated  shelf  on  rim  inside,  and  tea- 
bowl.  1680 

2631'     Fire- vessel.     H.   8   in.     D.   8|   in.     Square   body,   corners   chamfered,   circular 
opening.     Brown  clay,  lustrous  buif  glaze  with  splashes  of  olive-green  and  bluish-white  over- 
glaze  running.  1680 
A  remarkable  specimen. 

2632.  Comfit-bottle.     H.  3J  in.  1700 
Gift  of  Miss  Lucy  Ellis. 

2633.  Cylindrical  flower-vase.  H.  9J  in.  Light  brown  clay,  light  fawn  glaze,  thick 
bluish-green  overglaze.  1700 

2634-2648.     Bottles,  cake-dishes,  incense-boxes,  water-jars,  plates,  etc.       1 700-1 780 

2649.  Incense-box,  round  and  pyramidal.  D.  ij  in.  Light  fawn  clay,  white  glaze,  broad 
spiral  band  in  dark  brown  running  from  top  to  bottom.    Ichi  hiaku  (inc.).  1780 

2650.  Covered  jar.     (On  top  of  Case  22.)     H.  14I  in.     Looped  handle  on  cover.     (^ 
Light  fawn  clay  and  glaze.     Scrolls  and  flowers  in  light  brown,  shaded.  1780      I© 

Gift  of  W.  S.  Bigelow.  2649 

2651-2654.     Square  trays,  fire-bowl,  and  bottle.  1700-1830 

RED   SHINO,  known  as  RED   ORIBE  (Case  22  and  Plate  XVIIL  2656) 

2655'  Tea-bowl.  D.  5}  in.  Fawn  clay,  buff  glaze.  Decoration  of  wheels,  insects,  etc., 
inside  and  out,  in  liglit  yellow  outlined  in  brown.  Basal  ring,  inside  and  out,  glazed  light 
yellow.  1650 

An  exceedingly  rare  form. 

2656'  Tea-bowl.  D.  4J  in.  Light  drab  clay,  thick  dark  buff  underglaze,  pitted,  very 
thick  greenish-blue  overglaze  about  rim.  1680 

A  unique  specimen. 

2657-  Tea-jar.  H.  2\  in.  Fawn  clay,  thick  reddish-buff  underglaze.  Thick  dark  green 
mottled  overglaze  running  from  neck  and  partially  covering  decoration  of  checks  and  scrolls 
in  white,  thickly  outlined  in  brown.  1680 

2658.  Bowl.    D.  3^  in.    Brown  clay,  deep  orange  glaze,  glistening,  coarsely  pitted.     1700 
A  unique  example. 

2659.  Oval  dish,  scalloped  edge.  D.  4J  in.  Dark  fawn  clay,  dull  buff  glaze.  Inside, 
radiating  bands  in  white.     Cloth-mark  impression.  173° 


PROVINCE    OF  OWARI  193 

2660.  Incense-box,  lozenge-shaped,  sides  indented.  L.  2|  in.  Gray-drab  clay  and  glaze, 
thick  splash  of  olive-green  glaze  on  cover.  Decoration  of  lines  in  white  outlined  in 
brown.  i7S° 

2661.  Tea-bowl.  D.  45  in.  Light  brown  clay.  One  half  bowl  vertically,  glazed  deep 
orange  ;  other  half,  white  Shino  glaze.  On  white  surface,  three  large  circles  in  deep  brown 
interrupting  vertical  lines  in  brown.     Deeply  pitted.  1800 

A  remarkable  specimen, 

BLACK   SHINO,  known  as  BLACK   ORIBE  (Case  22) 

2662.  Tea-bowl,  irregular.  D.  4^  in.  Hard  light  gray  clay,  glistening  black  glaze,  with 
square  and  triangular  space  in  white  glaze.  1700 

2663.  Low  TEA-BOWL.  D.  s  in.  Roughly  turned.  Thick  walls.  Coarse 
light  gray  clay,  black  glaze  with  large  area  of  white  glaze.  On  white  sur- 
face, circles,  flowers,  etc.,  in  black  glaze ;  on  black  surface,  square  figure, 
sprouts,  etc.,  in  thick  white  glaze.     Kakihan  (inc.).  1580 

This  may  possibly  be  the  work  of  Rokubei,  of  Seto. 

AKATSU   ORIBE  (Case  22) 

2664.  Flower-vase.  H.  7J  in.  Very  coarse,  and  roughly  potted.  Brownish  clay,  coarse 
white  glaze,  splash  of  thin  green  glaze  with  cardinal-reddish  stains.  Rough  decoration  of 
radiating  figure  in  dark  brown.  1580 

2665-  Bowl.  D.  3}  in.  Vertical  sides.  Scalloped  rim.  Basket  lines  incised.  Drab 
clay,  thick  olive-green  glaze.  On  bottom,  inside,  white  glaze  with  chrysanthemum  outlined 
in  brown.  1600 

2666.  Flat  tray,  with  opposite  sides  turned  up.     L.  8  in.     W.  7J  in.     Gray-drab  clay, 
dull  light  yellowish  glaze,  splashes  of  thin  green  glaze  on  edge.     Chrysanthe- 
mums incised.     Circular  mark  with  line  through  centre  incised.  1600 

The  mark  may  be  that  of  Tomokichi. 

2667.  Deep  bowl,  eight-sided.     D.  j,\  in.  1600  2666 

2668.  Tea-bowl.  D.  6|  in.  Flaring  sides.  Light  drab  clay,  large  areas  of  green  glaze, 
large  surface  outside  unglazed.  Inside,  light  fawn  glaze  with  splashes  of  green  glaze. 
Decoration  of  circles,  etc.,  in  reddish-brown  inside.  1630 

On  box  containing  this  bowl  was  written,  "  Oribe  bowl,  written  by  Shimidsu  Chogen." 
This  bowl  was  obtained  at  Kenninji  Temple  by  Ninagawa. 

2669.  Tea-bowl,  irregular.  D.  4I  in.  Thick  and  heavy.  Drab  clay,  thick  nearly  white 
glaze,  mottled  green  overglaze.     About  rim  curved  brush-marks  in  olive-brown.  1650 

2670.  Fan-shaped  trav.     L.  8|  in.  1650 

2071.  Low  cup-rest.  D.  6J  in.  Drab  clay,  thick  light  fawn  glaze,  rim  successively  dipped 
in  rich  brown,  light  green,  and  bluish-gray  glaze.  Decoration  of  flowers,  etc.,  in  thick  green, 
brown,  and  red.  1680 


8 


194 


THE   CATALOGUE 


2672-2678.    Various  FORMS.    2676,  cake-dish;  D.6i  in. ;  /Tawaf^/yJ/ (written).  1680-1780 

2679-  Tea-bowl.  D.  5  in.  Sides  compressed.  Gray- 
drab  clay,  light  brown  glaze  strongly  mottled.  Flower, 
swastika,  and  character  in  white  glaze.  Curved  mark 
incised.  1780 

2680.  Haisen,  in  form  of  conventional  lotus  petal. 
L.  lo  in.  Light  gray  clay,  brilliant  white  glaze  tinged 
with  gray,  splash  of  brilliant  olive-green  overglaze  run- 
ning into  light  blue.  Decoration  of  net  and  scrolls  in 
olive-brown.  1780 

2681-2695.    Various  pieces.  1780-1850 

No.  2688  is  a  beaker,  and  bears  the  mark,  Kikunojo  tsukuru  (inc.).  2688 


2676 


BLACK   SETO   (Case  22) 

2696.  Tea-bowl,  irregular.  D.  4J  in.  Thick  rim.  Grapsh-drab  clay,  thick  black  glaze 
divided  inside  and  out  by  broad  area  of  thin  white  glaze.  White  area  having  cross-lines, 
etc.,  in  black.  1680 

2697-  Tea-bowl.  D.  4^^  in.  Thick  and  heavy.  Thick  deep  brown  glaze  strongly  pitted. 
Formal  chrysanthemums  in  white  glaze.  1680 

2698.  Bottle.  H.  (>\  in.  Thick  and  solid.  Light  brown  clay,  brown  underglaze,  darkish 
brown  nearly  black  overglaze.  Round  interspaces  with  white  glaze,  outlined  in  brown, 
representing  chrysanthemums.  1780 

2699-  Double  gourd-shaped  bottle.  H.  8|  in.  Gray-drab  clay,  glistening  deepest 
brown  glaze,  minutely  pitted.     Gourd  vine  in  white  glaze,  outlined  in  black.  1780 

2700.  Beaker.  D.  4J  in.  Gray-drab  clay,  thin  brown  underglaze,  nearly  black  overglaze. 
Chrysanthemums  in  white  glaze  outlined  in  brown.  1780 

2701.  Lantern-plate.  1820 

2702.  Cylindrical  flower-vase.  1830 

NARUMI   (Case  22) 

Pottery  recognized  as  Narumi  was  baked  in  the  village  of  that  name  early  in  the 
seventeenth  century.  The  bowls  and  tea-jars  are  unmistakable,  and  for  these  only 
the  name  Narumi  is  retained.  The  clay  is  softer  than  ordinary  Seto,  the  glaze  soft 
bluish-black  in  color,  sometimes  with  areas  of  light  brown,  and  lacks  lustre.  Taihei, 
of  Kyoto,  made  a  form  of  tea-jar  similar  to  Narumi.    (See  No.  4020.) 

2703.  Tea-bowl.  D.  sJ  in.  Gray-drab  clay,  bluish-black  glaze  with  areas  of  light 
brown.  1580 

Exceedingly  rare. 

2704.  Tea-jar.  H.  3J  in.  Two  rudely  modeled  monkeys  on  shoulder.  Dark  brown  clay 
and  glaze,  dark  fawn  overglaze  on  one  side.  1580 

2705.  2706.    Tea-jars.  1600 


CASE    22 


2633 


zfcS/ 


Zl,1S 


Z6&6 


Zb'/Z  Z631 


2.6  8Z 


Zb'iO         Zbb'l 


2667 


^M%i|WMiWi 


IbST" 


tbT» 


2627 


2GI7 


Zbll 


XbIZ 


abiy       Z632iW»   Zbl9      2bZ6    26/9  262^  ZGIS        2622 

^^  .=IMi  ,4^^  ML8  ^S.\"^-7^^  f^^  ^^ 


5U1 


26b6 


26T7          2662       2faTS  269S" 

^^^ 267  6 


Z62I       '■6l<>      2-bi'i         IbiO 


Z6a8 


2b%3 


ZbS2  2681         1671  i<>S3  2b87 


lb78 


270V    I70f      noT     1704- 


'   2703 


PROVINCE  OF  OWARI 


PROVINCE   OF  OWARI  195 

2707.  Tea-jar.  H.  2|  in.  Dark  gray  clay,  light  brown  underglaze,  areas  of  bluish-black 
overglaze.  1600 

2708-271I.    Tea-jars.  1600-1680 

OFUKE  (Case  23) 

A  pottery  marked  by  rich  running  glazes  of  brown,  yellow,  and  sometimes  blue  on 
a  dark  Seto-brown  glaze,  is  accredited  to  an  oven  built  within  the  castle  grounds  of 
Nagoya.  Other  pieces,  varying  from  the  above,  are  also  recognized  as  Ofuke.  These 
were  made  in  1830-40  by  Shuntai,  and  bear  the  marks  Fuke,  Fuke  yaki,  Fuke  sei, 
and  Hachi. 

2712.  Bottle.  H.  8J  in.  Hard  grayish-drab  clay,  richly  mottled  brown  glaze,  deepest 
brown  glaze  on  neck  and  shoulder.     Rare  form.  1630 

2713'  Tea-bowl,  flaring.  D.  4I  in.  Light  fawn  clay,  one  half  vertically,  greenish-white 
glaze  ;  remaining  half,  light  brown  glaze.  1680 

2714-  Water-jar.  H.  5^  in.  Grayish-drab  clay,  brown  underglaze,  rich  dark  brown, 
light  blue,  and  fawn  overglaze,  running.  1780 

2715"  Haisen,  in  form  of  ancient  bronze  incense-burner.  Longest  diameter,  i\  in.  Finest 
fawn  clay,  rich  fawn  glaze  brilliantly  crackled.  Around  body  seal  characters  in  high  relief ; 
fret  about  rim  tinged  blue.     Brown  underglaze  showing  through  in  parts.  1780 

2716.     Tea-bowl.  1780 

2717-     Flower-vase.  1780 

27l8>  Incense-stick  burner.  Extreme  diameter,  3-^5  in.  Oblong  oval  above,  tapering 
towards  base,  three  small  legs.  Light  fawn  clay,  rich  light  fawn  glaze,  coarsely  crackled. 
Inside,  variegated  glazes  resembling  opal.  1800 

2719-  Thick  bowl,  rim  in  five  deep  scallops.  D.  7I  in.  Light  brown  clay  and  glaze, 
with  areas  of  nearly  black  glaze,  thick  bluish-white  overglaze  running  from  rim  inside  and 
out  with  bluish-green  areas,  richly  mottled.  1830 

2720.  Bowl,  similar  to  last. 

2721.  Wide-bottomed  wine-bottle.  1850 

2722.  Flower-vase,  oviform.  H.  6J  in.  Gray-drab  clay,  light  fawn  glaze,  rich  light 
brown  overglaze  running  into  deepest  brown  and  greenish-brown.     Bizan  (imp.).  1800 

This  is  a  typical  piece  of  Ofuke.     There  is  no  infor- 
mation available  in  regard  to  the  maker. 

2723.  Incense-box  (ceremonial  hat).    L.  2jin.    Light 

fawn  clay,  clouded  fawn  glaze  without  lustre.    Tassels 

and  cord  in  brown.     Fuke  (imp.).  1830 

2722  2723  2724 

2724.  Tea-bowl.      D.  5   m.     Light  gray  clay,  thick 

greenish-white  glaze,  prawn  incised  and  colored  greenish-brown.  Strong  cloth-mark  impres- 
sion below.     Fuke yaki  (imp.).  1830 

2725.  Bowl,  sides  compressed.  D.  4J  in.  Grayish-fawn  clay  and  glaze.  Lines,  scrolls, 
etc.,  in  white  Mishima.     Fuke  kore  wo  tsukuru  (imp.).  1830 


196 


THE   CATALOGUE 


2726.  Food-bowl.    D.  5  in.    Light  gray  clay,  white  glaze. 
Shochi  and  Fuke  set  (imp.). 

2727.  Tea-bowl.     D.  3I  in.     Light  gray  clay,  clear  white  glaze 
with  splash  of  light  blue  mottled  glaze.     Hachi  (imp.).  1830 

All  the  above  marks  are  very  rare. 


Under  decoration  in  light  blue. 
1830 


Q  i 


SOBOKAI   (Case  23) 

Pottery  signed  Sobokai  was  first  baked  on  the 
castle  grounds  of  Nagoya.  The  first  work,  con- 
sisting of  tea-jars  and  the  like,  was  made  by  a  ^^^''  ^7^6 
potter  from  Seto  in  1630.  (The  tea-jar  catalogued  under  2265  was  made  in  Seto  from 
Sobokai  clay,  and  does  not  belong  to  this  oven.)  In  1780  or  thereabouts  a  large 
stamp  with  the  characters  Sobokai,  roughly  cut  in  a  depressed  square,  was  used.  A 
smaller  mark  in  oval  came  into  use  in  1800.  A  little  later  a  still  smaller  mark, 
similar  to  the  last,  was  used  for  incense-boxes  and  the  like,  though  it  was  occasionally 
found  on  large  pieces.  The  incised  mark  is  extremely  rare,  and  where  evidence  of 
age  is  shovra  may  indicate  the  first  signed  Sobokai.  The  pieces  of  Sobokai  are  all 
designed  for  the  tea-ceremony,  are  in  refined  taste,  and  follow  Seto  style,  except 
the  incense-boxes,  which  copy  NinseL  Within  recent  years  fraudulent  essays  have 
appeared  in  the  form  of  large  tea-jars,  which  seem  raw  and  crude  when  compared  with 
the  genuine  work,  and  these  are  signed  with  the  old  marks,  or  counterfeits  of  them. 


H.  6|  in.     Light  gray-drab  clay,  rich  chestnut-brown  glaze,  clouded.  1650 


glaze. 

2731. 

2732. 


2728.  Jar. 
Sobokai  (inc.). 

2729.  Flower-vask  H.  10  in.  Round  body  in  middle,  square  above 
and  below,  slightly  flaring.  Light  gray  clay,  thin  light  green  underglaze, 
thick  light  bluish  overglaze  running.  Flowers  and  scrolls  in  high  relief, 
moulded  and  applied.     Sobokai  (^xa^^.  1780 

2730.  Incense-box  (bird).     L.  if  in.     Gray-drab  clay,  thick  light  gray 
Feathers   and   eyes   in   grayish  -  black.      Sobokai  (small   mark,  imp.). 

Tea-jar.     Same  mark. 

Water-jar.     H.  5^  in.     Gray-drab  clay,  brown  underglaze,  dark  brown  overglaze 
running,  mottled  with  fawn.     Same  mark.  1800 

2733.  Tea-bowl.      D.  3I  in.     Gray-drab  clay,  dull  thick  black  glaze  with  interspaces  of 
dull  light  gray  glaze.     Formal  blossoms  in  white  and  black.     Same  mark.      1800 

2734.  Shallow  tea-bowl.     D.  5  in.    Thick  and  irregular.     Same  mark.     1800 

2735.  Tea-jar,  two  loops.     H.  2^  in.     Light  gray-drab  clay,  light  fawn  glaze 
with  deepest  brown  overglaze.    Vertical  and  cross-lines  in  bands  incised 
on  upper  part.     Sobokai  (inc.)  across  bottom  and  side.  1800 

2736.  Jar,  four  looped  handles  on  shoulder.     H.  6^  in.     Light  clay, 
dull  brown  underglaze,  rich   lustrous   brown   overglaze, 
deepest  brown.     Sobokai,  large  mark  (imp.). 

A  superb  example. 
2737*.    Tea-jar.   H.4|in.  Light  gray-drab  clay,  deep  seal-brown  glaze.  Sobokai  i^ra.^:).   1840 


mottled  with 
1800 


Tit 

2735 


PROVINCE   OF  OWARI 


»9r 


THE   FAMILY   OF   KATO 

It  has  been  found  impossible  to  clear  up  the  relations  of  the  various 
potters  who  use  the  character  Shun  in  their  names,  such  as  Shunzan, 
Shuntan,  Shun-u,  Shuntai,  Shunrin,  and  others.  It  is  believed  that  they 
are  all  related ;  many  of  them  were  contemporaries,  judging  by  the  appear- 
ance of  their  work.  The  family  claims  to  come  in  a  direct  line  from 
Toshiro.  It  is  said  that  Shunzan  represents  the  ninth  generation  from 
Kato  Nihei.  This  potter  is  said  to  have  erected  an  oven  in  Akatsu  in 
1 6 14,  and  claimed  to  be  the  twentieth  generation  from  Toshiro.  These 
figures  are  absurd,  unless  they  all  married  at  puberty  and  had  children 
early,  which  is  altogether  improbable. 


SHUNZAN   (Case  23  and  Plate  XVIII.  2741) 

Kato  Shunzan  was  one  of  the  most  skilful  potters  of  Seto.  He  adhered  strictly  to 
the  tastes  of  the  chajin.  His  work  was  marked  by  vigor  and  originality.  His  pieces 
are  signed  with  a  strongly  impressed  mark  of  Shunzan,  and  are  very  rare. 

2738.     Jar.     H.  '^\   in.     Nearly  white  clay,  white   glaze  brilliantly  crackled.     Clouds  of 
light  blue  and  brown  running.     Shunzan  (imp.).  1770 

2739-     Plate,  leaf-shaped.    D.  6J  in.    Hard  light  fawn  clay,  light  brown  glaze  with  splashes 
of  olive-green  overglaze  running  into  white  and  light  blue.     Shunzan  (imp.).  1770 

VJ&fi.     Cup-rest.     H.  3  in.     Thick  and  heavy.     Light  brown  clay,  glistening  light  fawn 
glaze  with  splashes  of  rich  greenish-blue  overglaze.     Simple  decoration 
in  deepest  brown.     Rough  surface.     Shunzan  (imp.).  '77° 

2741  •  Incense-stick-burner.  D.  3 J  in.  Heavy  and  thick.  Coarse 
brown  clay,  warm  gray  glaze  with  splashes  of  thick  olive-brown  over- 
glaze.    Cross-lines  in  light  brown.     Shunzan  (imp.).  1770        274° 


2741 


2742.     Shallow  bowl.     D.  4f  in.     Fawn  clay,  nearly  white  glaze  with  splashes  of  light 
grayish-blue  and  white  overglaze.     Shunzan  (imp.).  1770 

SHUN-U    (Case  23  and  Plate  XVIII.  2744) 

A  potter  of  Seto  named  Kato  Buyemon  made  pottery  in  1788  and  after. 
He  ranked  among  the  first  six  potters  of  Seto. 

2743-  Cup-rest  (?),  with  fluted  and  crenulated  edges.    D.  4J  in.     Nearly  white  clay, 
glaze  mottled  with  seal-brown,  scrolls  in  white  nearly  concealed.    Inside,  grayish- 
blue  glaze  clouded.     Shun-u  (imp.).  1790 

2744-  Hand-warmer,  form  of  bull.      L.  9J  in.     Massive  and  heavy.  Light 
gray  clay,  deepest  brown  glaze,  with  golden -brown    areas,  splashes  of  white 
and  light  bluish  glaze  running.     Details  in  strongly  incised  lines. 
Shun-u  (imp.).  1790 


2743 


198 


THE   CATALOGUE 


2745.     Flower-vase.     H.  7}  in.    Light  drab  clay,  thick  dull  ochre  glaze  with  light  brown 
areas  showing  through.     Shun-u  and  Kmshin  (imp.).  1790 

This  piece  bears  the  strongest  resemblance  to  Shidoro. 


^^ 


2745 


SHUNTAN    (Case  23)  SSi 

This  potter  was  the  first  son  of  Shun-u.  His  common 
name  was  Kiheiji.  He  was  active  up  to  the  early  years  of 
this  century,  and  his  pottery  shows  the  evidences  of  a  skilful  artist. 

2746.  Cake-dish,  irregular  in  shape.     D.  7   in.     Thick  bail.     Coarse  gray-drab  clay, 
rich  dark  brown  glaze  covering  two  thirds ;  remaining  portion  grayish-white  glaze. 
Decoration  of  leaves  in  brown.     Shuntan  (imp.).  1780 

2747.  Haisen.     D.  8  in.     Scalloped  edge,  mythological  lion  moulded  on  rim. 
Fine  hard  fawn  clay,  thick  bright  yellow  Seto  glaze  with  bluish-white  areas. 
Shuntan  (imp.).  17^0 

2748.  Flower-vase,  square.     H.  9I  in.     Sides  deeply  fluted.     Elephant  handles, 
drab  clay,  white  Shino  glaze,  thick  light  blue  overglaze  running  from  upper  portion 
and  following  fluting  in  thick  drops.     Shuntan  (imp.).  1780 

A  unique  example. 

2749.  Cup-rest.     H.  2J  in.     Drab  clay,  white    Shino   glaze   coarsely  crackled, 
broad  vertical  bands  of  light  blue  glaze,  alternating  with  narrow  lines  of  brown. 
Shuntan  (imp.).  i7^o 

2750.  Flower-vase.     H.  10  in.     Round  body  constricted  in  middle;  square  above  and 
flaring.     Gray-drab  clay,  thin  light  yellowish  glaze,  rich  olive-green   and  light 
blue  overglaze,  running  from  upper  portion.     Shuntan  (imp.).  1780 

2751.  Brush-rest,  in  form  of  five  Chinese  boys  sitting.     L.  5  in.    Brown  clay, 
olive-brown  glaze.     Shuntan  (imp.),  1780 

SHUNKOZAN    (Case  23)  ^''5' 

It  is  said  that  Koheita  Ito,  of  Nagoya,  in  1600,  went  to  Seto  and  employed  a 
potter  to  make  tea-utensils,  upon  which  were  impressed  the  mark  Shunkozan.  The 
single  specimen  in  the  collection,  and  the  few  others  I  have  seen,  do  not  bear  the 
evidences  of  the  age  indicated  by  the  above  statement. 

2752.  Jar.     H.  sI  in.     Light  gray-drab  clay,  light  bluish-green  glaze, 
splashes  of  white  glaze  on  base.     Shunkozan  (imp.).  1750 

2753-     Cake  -  dish.      L.  6|    in.      Drab  clay,  white  Shino  glaze,  splash 
of  rich  green  glaze  inside  and  out.     Lines,  brush-marks,  etc.,  in  brown. 
^/iaw^J  (imp.).  1750 

This  is  placed  with  Shunkozan  provisionally. 

SHUNTAI   (Case  23) 

Kato  Shuntai,  a  son  of  Shunzan,  the  potter,  was  born  in  1799,  and  at  an  early  age 
became  interested  in  the  potter's  art.     He  worked  for  a  number  of  years  in  the  village 


PROVINCE   OF  OWARI 


199 


of  Akatsu,  and  made  tea-utensils  of  a  sober  character.  His  work  shows  some  versa- 
tility, yet  he  did  not  aspire  to  do  more  than  to  follow  the  path  of  Owari  potters  of 
that  time.  His  signature  may  be  found  on  pottery  resembling  typical  Ki  Seto, 
Akatsu,  typical  Seto,  and  Shino  Oribe.  It  is  said  that  the  third  generation  was  at 
work  in  1880.  I  have  not  been  able  to  separate  the  generations,  and  therefore  their 
work  is  grouped  together  under  the  general  name  of  Shuntai.  Between  1830  and 
1840  Shuntai  was  called  to  take  charge  of  the  Ofuke  oven  in  Nagoya.  His  essays  at 
this  oven  were  of  the  same  nature  as  his  other  work. 

''754'     Oval  plate.     L.  i\  in.     Light  clay  and  nearly  white  Shino  glaze. 
Under-decoration  of  bamboo,  lines,  etc.,  in  brown.     Shuntai  (imp.).         1820 
This  is  believed  to  be  the  earliest  mark  of  Shuntai. 

2755'     Tea- BOWL.    D.  5/^  in.    Brown  clay,  gray  glaze,  Mishima  decoration 
in  white.     Korean  imitation.     Shuntai  (imp.).  1825 

2756-2761.    Various  forms  of   Shuntai,  with  mark   Shuntai  impressed.      1820-1840 

2762.  Haisen.  D.  St%  in.  Gray-fawn 
clay,  outside  unglazed.  Inside,  glassy 
light  fawn  glaze,  strongly  crackled. 
Around  rim,  inside,  scrolls,  etc.,  im- 
pressed, colored  blue  and  olive-green. 
Shuntai  (imp.).  1840 

2763-2765.    Various  forms  of  Shuntai, 


2757 


2758 


The  following  numbers  bear  the  marks  of  various  Shuns,  of  which  no  information 
has  been  gathered.  Two  of  these  bear  the  impressed  mark  Shunki,  and  are  specially 
noteworthy  as  showing  the  work  of  a  skilful  and  artistic  potter.  The  mark  Shunrin 
(2769)  appears  on  a  piece  of  considerable  merit.     Pieces  bearing  this  mark  are  rare. 

SHUNSHO   (Case  23) 

2766.     Large  bowl.     D.  6J  in.     Sides  compressed.     Hard  gray-drab  clay,  dull  light  pur- 
plish glaze   running   into  light  gray  below,  coarsely  crackled.     Inside, 
female  face  outlined  in  olive-green  and  brown  ;  light  blue  eye  ;  brown  hair 
made  by  dark  purple  overglaze.     Shunsho  (imp.).     Sho  (written).        1850 


SHUNKI    (Case  23  and  Plate  XVIIL  2768) 

2767.  Cup-rest,  in  form  of  teak-wood  stand.     D.  2g  in.     Sides  perfo- 
rated.    White  clay,  white  underglaze,  dull  grayish-blue  middle  glaze,  rich  bright  blue  over- 
glaze  running.     Shunki  (imp.).  1820 

2768.  Squat   bottle.     D.  3I  in.      Light  gray  clay,  light  gray  glaze  coarsely  crackled, 
transparent  light  blue,  nearly  white,  overglaze  with  splashes  of  brown.     Shunki  (imp.).      1820 


200 


THE   CATALOGUE 


SHUNRIN    (Case  23) 

2769.     Flower-vase.     H.  13^  in.    Crab  moulded  in  high  relief  on  side.     Hard  body,  brown 
glaze,  upper  portion   rich   fawn  overglaze  streaked  with  blue  running. 
Strongly  turned.     Shunrin  (imp.)      Very  rare  mark.  1830 


SHUNKEI   (Case  23) 

277®'     Large  bowl.    D.  6}  in.    Fawn  clay,  greenish-white  glaze  settling         2769 
in   glassy  green   drops   below.     Around   rim,   outside,    stars    impressed 
colored  blue  and  brown.    On  bottom,  inside,  splash  of  thick  dark  blue  glaze. 
Shunkei  (imp.).  •  1830 

SHUNSUI   (Case  23) 

2771'     Bottle.     H.  7I  in.    Thick  and  heavy.     White  clay,  white  glaze.    Verti- 
cal lines  in  light  olive-brown  alternating.     Shumui  (imp.).  1850 


2770 


2771 


MAKUSA    (Case  23) 

The  impressed  mark  Makttsa,  in  obscurely  drawn  characters,  occurs  on  pottery, 
some  of  which  bears  the  typical  blue  and  white  crackle  glaze  and  blue  underglaze 
decoration  of  Seto.  It  reveals  an  age  of  at  least  one  hundred  years.  Thus  far  I 
have  obtained  no  clue  as  to  the  name  of  the  potter  or  place  of  baking.  The  work 
shows  a  versatile  artist.     The  mark  Makusa  is  very  rare. 

VJ'JI.  Rectangular  tray.  L.  9I  in.  Dull  brown  clay,  light  yellow  underglaze,  rich 
green  overglaze  clouded  with  round  interspaces  shaded  with  brown  lines  to  represent  chrys- 
anthemums.    Makusa  (imp.).  1780 

Gift  of  Howard  Mansfield. 
2773*     Large  bowl,  sides  compressed.     D.  8J  in.     Dead  light  brown  clay,  rich  greenish- 
gray  glaze  with  bright  light  bluish  tinges  about  rim  and  inside.     Decoration  in  brown  of 
dragons  in  panels  and  groundwork  of  cross-lines  between.     Inside,  rosette. 


1780 
Herons  outlined  in 


Makusa  (imp.). 

2774.     Tea-bowl.     D.  4^^  in.     Fawn  clay,  dull  thick  gray  glaze 
olive-green  with  rich  dark  blue  tails.     Basal  ring  deeply  notched. 
Makusa  (imp.).  1780 

2775-  Flower-vase,  shallow  drum  shape,  resting  on  periphery,  two 
rings  adherent.  D.  8J  in.  Light  brown  clay,  greenish-wjiite  glaze. 
Dragon  in  blue  and  brown.     Makusa  (imp.).  1780 

2776'  Flower-vase.  H.  gf  in.  Light  brown  clay,  rich  greenish-white  glaze.  Elephant 
handles,  indigo  blue.  Heart-shaped  designs  impressed  around  body,  and  touched  alternately 
with  blue  and  brown.     Makusa  (imp.).  1780 

KI    SETO   (Case  24  and  Plate  XIX.  2778) 

Ki  Seto,  or  yellow  Seto,  as  the  name  implies,  was  made  in  the  latter  part  of  the 
fifteenth  century,  and  is  accredited  to  a  potter  by  the  name  of  Haku-an.     It  is  a 


UNiVi 


CASE    23 


nib      17ZI        ziiz        nzz 


L733     IW-sjJ  /      /■  \\ 


X73y 


Z73I 


>,|rii 


M^ 


X?!** 


Z73Z        ms   Z723  Z716        nz*«       Z727 
ZTlS 


IT*  8 


Zir'f 


^(3^^P® 


-ITW- 


OTM        mo         Z7SV       TTTS      ZWl       Z7ir7  17!r<? 


IV 


jfg  2i,-Z6 


Z7I3  i'>"*6         ZVS7  2i-3(       i769 


is-bS      Z.76i" 


PROVINCE  OF  OWARI 


PROVINCE   OF  OWARI  201 

heavy  stone  pottery,  covered  with  a  strong  yellow  glaze  varying  in  brilliancy  and 
color  with  age.  The  earliest  forms  are  thin  and  chalky,  with  watery  glaze ;  later, 
warm  gray  glaze  with  bluish  tinges  richly  crackled  is  seen.  In  some  specimens  the 
glaze  is  almost  white.  Pieces  with  designs  of  cherry  blossoms  are  known  as  Wari- 
Sakura.  Within  fifty  years,  small  plates  made  on  a  mould,  having  a  raw  yellow  glaze, 
are  also  identified  as  Ki  Seto. 

KI   SETO   (HAKU-AN) 

2777-     Tea- BOWL,  flaring.     D.  6  in.     Light  brown  clay,  light  yellowish-olive  glaze.  1480 

2778.     Bottle,  fluted  sides.     H.  5I  in.     Fine  gray-drab  clay,  rich  fawn  glaze.  1480 

On  bottom  is  an  inscription  in  red  lacquer  indicating  that  it  was  formerly  possessed  by 
Tsuyen. 

2779-  Shallow  tea-bowl,  flaring.  D.  6}  in.  Dark  gray-drab  clay,  olive-gray  glaze  with 
lighter  area  on  rim,  strongly  crackled.  1480 

2780.  Tea-bowl.  D.  4J  in.  Thick  and  heavy.  Light  brown  clay,  rich  fawn  glaze 
coarsely  crackled.  1480 

KI   SETO   (WARI-SAKURA) 

2781.  Dish,  four  sides  flattened.  D.  5I  in.  Light  fawn  clay,  yellowish  glaze.  Inside, 
cherry  blossom  incised.  1630 

2782.  Parching-pan.  D.  9  in.  Light  fawn  clay,  yellowish  glaze  with  olive-green  areas. 
Inside,  cherry  blossom  incised.  1630 

KI   SETO   IN   GENERAL 

2783.  Tea-cup.   D.  2|in.  Lightgray  clay,  dull  light  yellow  glaze  with  deeper  tinges.     1480 
Type  Ninagawa.     Part  II.,  Fig.  27. 

2784.  Tea-jar.     H,  2^  in.     Brown  clay,  dull  yellowish  glaze.  1480 

2785.  Flower-vase,  fusiform,  neck  and  base  projecting.  H.  9J  in.  Light  yellowish-brown 
clay,  thin  light  yellow  underglaze,  thick  splashes  of  yellowish  overglaze  running.  Body 
strongly  combed  in  encircling  lines.  1500 

Gift  of  Miss  Lucy  Ellis. 

2786.  Bowl.     D.  sf  in.     Gray  drab  clay,  grayish  yellow  glaze.  1500 

2787.  Shallow  tea-bowl.  D.  6J  in.  Brown  clay,  light  yellow  glaze,  thick  greenish 
yellow  overglaze.  1500 

2788-2791.     Various  objects.  1500-1580 

2792.  Tea-bowl.  D.  6  in.  ■  Fawn  clay,  rich  yellowish  glaze,  with  light  fawn  and  brownish 
splashes.  iS^o 

2793-  Tea -BOWL.  D.  5^  in.  Gray-drab  clay,  brilliant  whitish-fawn  glaze,  opalescent- 
white  glaze  in  bottom  of  bowl.  1580 


202  THE   CATALOGUE 

2794*    Tea-bowl.     D.  6  in.    Gray-drab  day,  whitish-fawn  glaze  with  splash  of  light  grayish 

overglaze.     Tempio  Hdji  \(\  (yrnXXexi).  1580 

2795-     Flower-vase.     H.  ii  in.  '  1630 

2796.    Vessel,  in  form  of  bucket.     H.  io|  in.     Brown  clay,  olive-gray 

glaze,  crackle  darkly  stained.  1630 

2797~2803.    Various  forms.  1650-1750 

2804.     Flower-vase.     H.   10^  in.     Square,  flaring  above  and  below,  g^ 

fluted.     Light  clay,  yellow  Seto  glaze  brilliantly  crackled.      Two  wide  ^J 

bands  about  middle.  1750  2794 

Gift  of  James  Ford  Rhodes. 
2805-2820.     Various  forms.  1750-1850 

No.  2808  bears  the  mark  Sekiran,  impressed,  and,  inside,  the  mark  Kanreki.  The  bowl 
was  made  to  celebrate  the  sixty-first  birthday,  an  important  anniversary  with  the  Japanese. 

GEMPIN   (Case  24  and  Plate  XIX.  2821,  2822) 

The  records  vary  in  regard  to  Gempin,  the  potter.  In  one  record  it  is  stated  that 
Gempin  was  a  Korean ;  in  another,  that  he  came  from  China  in  the  latter  part  of  the 
Ming  dynasty  ;  still  another,  that  he  was  a  fugitive.  It  is  also  recorded  that  he  was 
an  ambassador  from  China,  who  came  with  others  to  seek  help  from  Japan.  He  was 
a  good  character-writer  and  potter ;  and,  under  the  patronage  of  the  Daimyo  of 
Nagoya,  built  an  oven  and  made,  among  other  objects,  heavy  tea-bowls  having  white 
glaze  and  blue  decoration  consisting  of  sketchy  strokes  of  the  brush.  On  a  yellowish 
pottery  made  by  him  poems  were  written  in  the  most  delicate  and  beautiful  characters. 
There  are  five  specimens  in  the  collection  that  may  be  regarded  as  genuine.  In  one 
of  these  the  character  Gen  is  written  on  the  bottom  in  blue.  Other  bowls  attributed 
to  Gempin  have  the  mark  Gempin  tsukuru  written  in  blue,  and  these,  though  of  fair 
age,  are  spurious. 

2821.  Fire-bowl.     D.  4}  in.     Crenulated  rim.     Light  gray-drab  clay,  white  glaze.     Dec- 
oration of  figure,  waves,  fish,  and  encircling  bands  in  light  blue.     Basal 
ring  with  round  perforations.     Gen  (written  in  blue).  1640 

2822.  Food-bowl.     D.  5J  in.     Gray-drab  clay,  thick  lustrous  yellowish 
glaze,  strongly  crackled,  rough  underglaze.     Decoration  of  flowers  and  ^^^ 
band  in  gray.                                                                                              1640            ^^J 

2823.  Bowl.     D.  4J  in.     Gray-drab  clay,  lustrous  grayish-drab  glaze,  ^821 
finely  crackled,  opalescent   in  portions.     Rude  decoration  of  flowers  and  scrolls  in  dark 
gray.                                                                                                                            1640        ^_^ 
2824-     Deep  cup.     D.  3!  in.     Thick  and  heavy.      Dark  drab  clay,  clear  white  ^ 
glaze,  coarsely  crackled.     Matsu  and  encircling  bands  in  blue  on  side. 
Tsukuru  (written  in  blue).                                                                                        1640         j^ 
2825.     Cake-dish.     D.    6|  in.     Light  fawn  clay,  yellowish-white  glaze  without       -^^K. 
lustre.     Outside,  fine  scrolls  in  dark  gray.     Inside,  finely  written  characters  and  ' 


-*- 


delicate  drawing  of  lotus  in  fine  lines.     Hokokushi  Kanro  (written).  1650 

The  last  five  objects  are  of  great  rarity.  2825 


PROVINCE   OF  OWARI  203 

2826.    Tablet.     H.  5  ^  in.     Light  fawn  clay,  grayish-white  glaze.     Characters  on  each  side 

in  dark  brown.     Teiju  san.     Keicho  hachi-nm.     San  gatsu- 

itsu-ka  (inc.).     The  inscription  indicates  the  date  of  1603, 

which  is  long  before  Gempin.    The  piece  is  unquestionably 

fraudulent. 

2827—2829.    Bowl  and  square  trays.    These  have  been 
identified   by  Japanese  experts 
as  the  work  of  Gempin. 

2830,  2831.  Bowls.  Fraudu- 
lent Gempins  with  mark  Gempin 
and  kakihan  written.  1730 

TOKONAME   (Case  25) 

The  pottery  recognized  as 
Tokoname   has   some    slight 

resemblance  to  some  forms  of  Bizen.  It  is  rarely  so 
solid,  the  clay  has  a  reddish  color,  differing  from  Bizen, 
and  is  easily  distinguished  when  the  character  of  the 
two  potteries  is  clearly  known.  In  some  specimens 
the  mottled   gray  glaze  forms   an   attractive  feature.  2826 

Objects  of  this  kind  are  often  identified  as  Tamba,  and 

specimens  identified  as  Tamba  by  Ninagawa  I  have  been  forced  to-  place  with  Toko- 
name from  their  identity  with  forms  bearing  the  marks  of  well-known  Tokoname 
potters. 

2832.  Tea-jar,  thick  and  heavy.  H.  3I  in.  Dull  reddish-brown  clay,  fawn-colored  glaze 
with  darker  areas.  1480 

2833-  Jar.  H.  6J  in.  Thick  walls.  Roughly  potted.  Coarse  reddish-brown  clay,  trans- 
parent underglaze,  splash  of  thick  light  fawn  and  bluish  overglaze.  1580 

2834.  Jar.  1630 

2835.  Jar.  H.  5I  in.  Dull  brownish  clay,  strong  ochre  glaze.  Around  rim  thick  dead 
yellowish- white  overglaze.  1680 

2836.  Jar,  twisted  handles.  H.  7J  in.  Dull  coarse  brown  clay,  transparent  glaze,  with 
small  area  of  light  fawn.     Cross-lines  incised  about  shoulder  and  line  about  middle.         1780 

2837.  Bowl,  scalloped  edge.  1780 

2838.  Flower-vase.  H.  7I  in.  Dull  reddish-brown  clay,  ochre  glaze  with  greenish  tinges. 
Clouds  and  dragon  deeply  cut  in  outline.  1780 
2839—2845.    Various  forms.                                                                                 i  780-1840 

2846.  WiNE-BOTTLE,  Square  body.  H.  8J  in.  Dull  light  brown  clay,  with  reddish  tinge, 
grayish  underglaze,  light  fawn  overglaze  running  in  streams.  Scrolls-  and  fan-shaped  figures 
applied  in  stencil.  1850 

2847.  WiNE-BOTTLE,  similar  to  last. 

2848-2853-    Various  forms.  1870-1880 


204  THE   CATALOGUE 

WAKICHI  (Case  25) 

Shibata  Wakichi  had  an  oven  in  Hokujio  village,  near  Tokoname,  in  1870.  He 
confined  his  work  to  tea-utensils,  and  used  the  signature  To  Wakichi,  To  meaning 
potter. 

2854-  Globular  jar,  looped  handles.  H.  4  in.  Gray-drab  clay,  light  reddish  underglaze, 
thick  fawn  overglaze.     On  shoulder  knot  incised.     To  Wakichi  (imp.).  1870 

OTAKAYAMA   (Case  25)  '^'^' 

Two  pieces  in  the  collection  bear  the  impressed  mark  Otakayama.     They 
show  evidences  of  a  vigorous  potter.     The  pottery  was,  probably,  made  in      2854 
Otaka  village,  though  no  information  is  at  hand  regarding  the  potter. 

2855-  Bottle,  with  nozzle.  H.  8  in.  Thick  and  heavy.  Reddish-brown  clay,  dead  pur- 
plish-brown underglaze;  splash  of  thick  greenish-blue  overglaze  running  in  darkest  brown 
streams  with  golden-brown  areas.     Otakayama  (imp.).  1820 

2856.     Flower-vase,  with  ring  handles  adherent.      H.  ii|  in.      Reddish-brown  clay,  dull 
purplish-brown  glaze,  thick  olive-brown  overglaze  with  touches  of  golden-brown. 
Otakayama  (imp.).  1820 

The  mark  Otakayama  is  extremely  rare. 

CHOzO   (Case  25)  2856 

Ina  Chozo  or  Chozaburo,  of  Tokoname,  was  esteemed  a  famous  potter  in  the  early- 
years  of  the  century.  Pieces  bearing  the  incised  mark  Ch5za  are  chiefly  in  the  form 
of  tea-pots  and  wine  utensils.     It  is  said  that  the  fourth  generation  is  at  work  to-day. 

2857-  Beaker,  with  handle.  D.  3  in.  Reddish-brown  clay,  gray  glaze  coarsely  pitted, 
brush-marks  in  brown.     Choza  (inc.).  1840 

2858.  Tea-bowl.  D.  3I  in.  Dull  reddish-brown  clay,  warm  gray  glaze.  Vertical  and 
horizontal  bands  of  circles  and  other  designs  in  black.    Choza  (inc.).    1840 

2859.  Tea-pot.     H.  3^  in.     Choza  (inc.).  1840      ^J^ 

2860.  Large  bowl.      D.  9J  in.      Dull  light  brown  clay  with  reddish         ^  ^ 

tinges,  transparent  underglaze,  thick  light  fawn  and  olive-green  overglaze         "•  — ^ 

clouded.     Inside,  wave  lines  and  stars  in  white  Mishima.  ^  _        •^ 

Choza  (inc.).  1840  Vi^ 

-.  2858  2859 

2oOI.     Tea-pot.     H.  4  in.     Light  brown  clay  and  glaze.  1840 

2862.  Jar,  double  gourd-shaped.  H.  5I  in.  Dead  reddish-brown  clay,  transparent  glaze 
mottled  with  fawn  overglaze.     Choza  (inc.).  1840 

TOZEN    (Case  25) 

Akai  Tozen,  a  Tokoname  potter,  made  earthen  fire-vessels  by  order  of 
the  governor  of  Owari,  in  the  early  part  of  the  century.     The  marks  were 
Tozen,  To,  and  Zen.    The  present  generation,  Shinroku,  is  now  at  work,  using        ^^^ 
the  mark  Tozen.     Pieces  signed  Tonen  are  probably  by  the  same  family. 


CASE    24 


tIfS-  ZSOO  2,804 


Z79Z  7780 


X8J0 


2,7  96 


177  8 

o 


Tj<^<-7A<r7 


i»'l  nSi-       1817  2.803 

2787  X7  86  180 


f3A2S07 


Z799     1769 


"'^ii:^^    X78,       /fA  n 


I80&  ITiO        nSl       1801         1816         1797  nw      18J3         i788  1820         1802 

l%2f  ,..ij3.'-j     M2X      2822  __   ,  ,  __ 


^8l8 


■^m)  \i]  j  \± 


1830         ivji  2.827  2.y2r 


W    ^ti.'? 


2609  ti-2,7         2b0  8       IS-az 


S-/'54- 


iy2a  i!>-2( 


yin 


yiiz 


tre^'j/J  ^i°£    t^:^^    5-10  8     <:— >\ — ^M       ^'vi 


PROVINCE  OF  OWARI 


o-i 


«\^ 


PROVINCE   OF  OWARI  205 

2863.     Tea-pot.     D.  2%  in.     Dull  light  brown  clay,  unglazed.     Rough  surface.  1840 

Tozen  (imp.). 

2864-2866.    Various  FORMS  OF  TOzEN.  1840 

TOHAKU   (Case  25) 

Of  this  Tokoname  potter  no  record  is 
at  hand.     The  only   object   in   the   coUec-      2864 
tion  is  a  deep  jar  with  a  small  open  spout 
near  the  rim.     It  is  very  thick  and  heavy ;  evidently  modeled 
by  hand. 

2867.  Jar.  H.  6J  in.  Very  hard  brown  clay,  deep  reddish-brown 
glaze  with  blackish  areas.  Band  of  S-shaped  figures  incised  around 
body.     Rim  thickened  and  applied.     Tohaku  no  saku  (inc.).      1870 


2866  2867 


IKKO    (Case  25) 

Kataoka  Ikko,  a  potter  now  living  in  Tokoname,  began  work  in  1 848  as  a  maker  of 
tea-utensils.     His  teapots  show  the  work  of  a  skilful  potter. 

2868.  Tea-pot.      D.  4J  in.      Cover  with  two  free  rings.      Fine  dull  straw  clay,  smooth 
surface  unglazed.    Devil  in  green,  pink,  blue,  and  black  enamel. 
Ikko  (ym^^.  1850 

2869.  Tea-pot.     Unglazed.     /f>JJ  j-«  (imp.).  1850 

2870.  Bowl.     D.  4f  in.    Fine  fawn  clay,  transparent  reddish- 
glaze,  light  fawn  overglaze.     Ikko  (imp.).  1850     2868  2869  2870 


n 


NIKO   (Case  25) 

A  potter  of  Tokoname,  signing  his  pieces  Niko,  has  within  recent  years  made 
among  other  objects  very  light  and  thin  wine-bottles,  smoothly  glazed.  Typical  Toko- 
name tea-pots  are  found  with  the  same  signature. 

2871.     Cake-dish,  in  form  of  three  Haliotis  shells,  moulded.      D.  sf  in.      Reddish  clay, 
transparent  underglaze,  splash  of  creamy-white  overglaze.     Niko  (imp.).     1870 

2872*.    Squat  bottle.    Niko  (inc.).  4gi       "• 

2873-    Flower-vase,    Niko  (inc.).  1870     ^&      A 

2874*     Wide-mouthed  bottle.    H.  4I  in.     Dull  light  fawn  clay,  deep  orange  *^ 

glaze.     iV/yJtf' (inc.).  1870     2871      2872 

2875-     Pear-shaped  box,  with  cover.     H.  4  in.     Chestnuts  moulded  on  top.    Fine  reddish- 
fawn  clay,  deep  brown  glaze.     Bands  of  heart-shaped  designs  impressed.     iV//^^  (inc.).     1870 

2876.     Wine-bottle,  thin.    H.  sJ  in.    Light  gray-drab  clay,  greenish  overglaze  with  touches 
of  brown  on  neck,    Niko  (inc.).  1875 


Light  gray -drab  clay,  smooth  sur- 

1870 


206  •  THE   CATALOGUE 

SANKO   (Case  25) 

A  Tokoname  potter,  known  as  Hojo  Sanko,  whose  family  name  was  Matsushita,  made 
pottery  between  1848  and  1853.     His  work  consisted  chiefly  of  tea  and  wine  utensils. 

2877-     Squat  bottle.      H.  3^  in.      Four  looped  handles,  bands  of  circles,  cross-bars,  etc., 

impressed  and  incised.     Gray-drab  clay,  light  transparent  brown  underglaze, 

thick  fawn  overglaze.     Sanko  (imp.).  1850 

2878.     Dish,  in  form  of  Haliotis  shell.     L.  6J  in.     Strong  yellow  glaze  with 

greenish  spots.     Sanko  (imp.).  1870      2877       2878 

A  tea-pot  signed  Hanko,  and  two  tea-pots  and  a  flower-vase  signed  Genko,  were 
unquestionably  made  in  Tokoname.     Whether  these  names  are  related  to  Ikko, 
Niko,  or  Sanko,  I  have  never  been  able  to  ascertain. 

2879-     Tea-pot,  with  large  nozzle.      D.  3J  in. 
face  unglazed.     Hanko  (imp.). 

2880.  Tea-pot.     D.  \\  in.     Loops  for  bail.     Handle  of  cover  in  form  of  fungus, 
gray-drab  clay,  with  light  red  area  unglazed.     Genko  (imp.). 

2881.  Tea-pot.     Light  fawn  clay.    Smooth  surface,  unglazed.     Genko  (imp.). 

1870 

2882.  Flower-vase.     H.  4  in.     Fine  red  clay  unglazed.     Gensen  sat  (imp.). 

1870 

HOHEI   (Case  25) 

A  potter,  showing  no  little  skill  in  modeling,  was  at  work  in  Tokoname,  in  1875, 
making  tea  and  fire  utensils.     He  signed  his  work  with  an  incised  mark. 

2883.  Single  flower-holder,  in  form  of  pomegranate  and  twig.     H.  2J  in 
hand.    Light  brown  clay,  unglazed.  Jusendo  Hohei-rojin  tsukuru  (inc.).     1875 

Within  the  last  fifty  years  a  number  of  potters  have  been  at  work 
in  Tokoname  making  tea-pots,  flower-holders,  bottles,  etc.  These  vary 
but  little  in  character  and  follow  the  common  style  of  Tokoname.  None 
of  these  potters  attained  a  suflScient  reputation  to  leave  records  of  their 
history,  and  the  pottery  itself  is  of  little  importance. 
2884—2899-     Comprise  pieces  of  the  above  character. 


Light 
1870 


1 


2881      2882 


Modeled  by 
2883 


^i 


2884 


2885 


2886 


2887 


2888 


2891 


They  bear  the  marks  either  impressed  or  incised  of  Bunjt  (288^),  Tosai  (2885),  Toshun  (2886), 
T5-shinkichi  (2887),  Sonshiu  tsukuru  (2888*),  Kagamkhi  (2889),  Shunsui  (2890),  Koitsu  (2891), 


PROVINCE   OF  OWARI 


207 


Koitsudo  (2892),  Moku  moku  (2893,  2894),  Seisai  (2895),  Naokata  (2897*),  Shirakiyo  (2898*), 
and  Kasai  (2899*). 


2897 


289S 


INUYAMA    (Case  25) 

A  hard  pottery,  in  some  cases  a  semi-porcelain,  bearing  the  written  or  impressed 
mark  Inuyama,  was  made  in  a  village  of  that  name.  The  work  of  the  last  fifty  years 
is  easily  recognized  by  the  crude  decoration  of  maple  leaves  in  red  and  green  in  imita- 
tion of  Kenzan  style.  A  specimen  in  the  collection  with  the  impressed  mark  Inuyama 
bears  out  one  record,  which  states  that  the  pottery  was  first  made  over  two  hundred 
years  ago.  In  the  beginning  of  this  century  the  decoration  was  in  green  and  black 
with  the  written  mark  Kenzan.    A  marked  deterioration  is  seen  from  the  original  work. 


2901 


2900.  Shallow  beaker.  D.  6J  in. 
Hard  light  gray -drab  clay,  thick  white 
glaze  without  crackle.  Over-decoration  of 
bamboo,  flowers,  dolls,  etc.,  in  colored 
enamels.     Inuyama  (imp.).  1730 

2901.  Bowl.  D.  5Jin.  Gray-drab  clay,  thick  gray- 
ish-yellow glaze.  Over-decoration  of  maple  leaves 
in  dark  gray  and  green.     Kenzan  (written).        1 780 

2902.  Square  tray,  fluted  knobs.    L.  7  in.    Gray-drab  clay,  light  gray 
glaze.     Over-decoration  of  maple  leaves,  scrolls,  etc.,  lightly 
sketched  in  green,  red,  and  dark  gray.    Kenzan  {yniXX^rC).     1800        ^ 

2903-     Bottle.     H.  9^  in.    Light  fawn  clay,  light  fawn  glaze,       l=L 

clouded,  large  areas  unglazed.     Inuyama  (imp.).  1800       2903  2902 

2904-2923.    Various  forms  of  Inuyama,  mostly  with  maple  decoration  in  red  and  green. 

^^^  1830-1880 


2904  2910 


291 1 


2912 


2920 


2921 


2o8  THE   CATALOGUE 

2924.  Food-bowl.     D.  8  in.     Light  gray  clay,  glistening  light  bluish-gray  glaze.     Under- 
decoration  of  flowers  and  leaves  in  light  olive-brown  and  blue.      This   bowl, 
though  departing  from  the  ordinary  type,  was  identified  by  a  Japanese  authority 
as  Inuyama.    Baitei  kore  wo  tsukuru  (written). 

HANSHICHI   (Case  26) 

In  1585  a  famous  lover  of  the  tea-ceremony  ad- 
judged certain  potters  of  Owari  as  deserving  first 
rank  Among  these  potters  was  Hanshichi.  An 
incense-burner,  in  the  collection,  with  thick  celadon 
glaze,  is  accredited  to  this  potter.  It  is  the  only  one 
I  have  ever  seen.  3935  2924 

2925.  Incense- BURNER.  D.  \\  in.  Thick  and  heavy.  Hard  gray-drab  clay,  light  green 
celadon  glaze.  Design  of  leaves,  scrolls,  etc.,  perforated.  Flowers,  dull  brown  glaze, 
deeply  carved.     iJ/awj/i/c/M  (incised).  1585 

Exceedingly  rare. 

In  the  latter  part  of  the  sixteenth  century,  a  number  of  amateur  potters  were 
at  work  in  a  dilettante  way  making  tea-utensils.  Their  reputation  far  exceeded  the 
merit  of  their  rude  essays.  They  were,  doubtless,  artistic  and  cultivated  men  who 
loved  flowers  and  pictures,  and  were  among  those  who  laid  the  foundation  for  the  sim- 
plicity and  even  austerity  of  the  pottery  used  in  the  tea-ceremony.  Among  these  were 
Moyemon,  Shimbei,  Shinyemon,  Motozo,  Johachi,  Ichiyemon,  Shimpaku,  and  Soyemon. 
The  following  pieces  are  accredited  to  these  amateur  potters,  with  their  peculiar 
distinguishing  marks. 

MOYEMON    (Case  26) 

2926.  Tea-jar.      H.  4^  in.      Dark  drab  clay,  transparent  underglaze,  thick  greenish-fawn 
overglaze.     Rude  lines  cut  on  side.     The  signature,  cross  in- 
cised on  bottom.  1580 

Type  Ninagawa.     Part  IV.,  Fig.  4. 

2927.  2928.    Tea-jars,  by  the  same  potter. 


SHIMBEI   (Case  26) 

2926  2929 

2929.  Tea-jar.     H.  4f  in.     Roughly  made.     Dark  gray  clay, 

surface  nearly  black ;  dull  greenish-black  underglaze  mottled  with  light  fawn ;  thick  olive- 
brown  overglaze.     The  signature,  long  and  short  lines  scratched  on  bottom.  1630 

2930.  Tea-jar,  similar  to  last. 

SHINYEMON    (Case  26) 

293^*  Tea-jar.  H.  4J  in.  Roughly  made  and  cut  on  side.  Fawn  clay, 
clouded  brown  glaze  with  splashes  of  greenish-white  glaze.  Rude  decora- 
tion in  brown.     The  signature,  T-mark  on  bottom  incised.  1550  2931 


"CASE    25 


iSiH 


Z8SS 


1833 


1B36 


2|fcb     Z««        \    -I 


2%J4-  2%tr9  z»ss       zis^-b 


i«7  8 


■l^^).^^T1r^lOT 


l«t.V  2a6<i  i%t8  2870  Z81*  Z8S0    l^gz    Z%8|  Z»77 


2M5  1631  ^3^8  ZS'fl 


Z»t7 


^^TTTh 


.'.;  \(iLQ 


Z«S7       Z^SI 


ZS(,Z 


2iS3       iS73  ZS7b    l%Tf      Z87I       Z%7b-         Z837  Ibri       ISiZ         2634    18V2        Z&'jy 


PROVINCE  OF   OWARI 


PROVINCE   OF  OWARI 


209 


MOTOZO    (Case  26) 

2932.  Shallow  tea-bowl,  very  irregular  in  shape.  D.  5J  in.  Thick  walls.  Fawn  clay, 
grayish-white  underglaze,  light  green  overglaze  around  rim.  Inside,  brown  glaze ;  lines  in 
brown  outside.     The  signature,  straight  line  deeply  cut  on  bottom.  1580 

2933.  Tea-bowl,  irregular  in  shape,  with  thickened  border.  D.  4J  in.  Gray  clay,  transpa- 
rent underglaze ;  large  areas  of  thick  black  overglaze.  Decoration  of  cross-lines,  etc.,  in 
dark  gray.     The  signature,  deep  wide  line  cut  on  bottom.  1580 

2934-  Tea-jar.  H.  4I  in.  Roughly  made.  Sides  cut.  Flattened  looped  handles.  Fawn 
clay,  greenish-yellow  underglaze,  brown  overglaze  around  shoulder.  Decoration  of  plum 
blossoms  in  brown  and  white.     The  signature,  straight  line  cut  on  bottom.  1580 


JOHACHI    (Case  26) 

2935.     Tea-jar.     H.  3^  in. 
rich  golden-brown  overglaze. 


Gray-drab  clay,  mottled  brown  glaze  with  streams  and  drop  of 
The  signature,  oblique  T-shaped  mark  incised.  1580 


2936,  2937*.     Tea-jars,  by  the  same  potter. 

ICHIYEMON     (Case  26) 

2938.  Tea-jar.  H.  3J  in.  Light  gray-drab  clay,  brown  underglaze,  splash  of  thick  olive- 
brown  overglaze  about  shoulder.  Band  of  yellowish-white  glaze  below.  Squares,  crosses, 
and  zigzag  lines  incised.     The  signature,  square  mark  deeply  cut.  1560 

SHIMPAKU   (Case  26) 

2939-  Tea-jar.  H.  3^  in.  Looped  handles.  Dull  gray  clay,  thick  seal-brown  glaze.  The 
signature,  two  circles  impressed  on  side  forming  figure  8.  153° 

SOYEMON  (?)    (Case  26) 

294(}>     Tea-jar.     H.  3!  in.    Grayish  clay,  nearly  black  glaze  over  baked.  2940 

The  signature,  key-mark  incised  on  bottom.  ^SS^ 


RISOKU   (Case  26) 

In  the  early  part  of  the  century  a  potter  named 
Risokuan  Hozo,  made  pottery  in  Nagoya.     He 
had  previously  worked  in   Seto  and  Tokoname. 
His  mark  was  Riso  or  Risoku,  in  a  double  gourd- 
shaped  panel. 

2941.  Boat- shaped  dish,  on  three  short  legs, 
L.  9  in.  Heavy  and  thick.  Gray-drab  clay,  thick 
olive  -  greenish  glaze  clouded,  inside  settling  into 
deepest  green  glaze  with  areas  of  light  g^een.  Wavy 
line  incised  around  vessel.  Ri  and  So  (imp.).  1800 
2942-  Square  incense-box.  D.  2J  in.  Dog  mod- 
eled on  cover.  Dull  light  yellowish  clay,  transparent 
glaze.  1800 

Shichi-jurgo-o,  Ho  tsukuru  (inc.).    Natsume  (imp.). 


Ichiye  Ruyemon,  also  known  as 


t' 


a  J 


'^y^ 


2941 


2942 


210  THE  CATALOGUE 

SHOZO   (Case  26) 

Pottery  bearing  the  mark  of  Shdzo,  or  Masazo,  was  made  by  Ujiya  Saburobei,  a 
merchant  and  tea-lover  of  Kyoto,  assisted  by  Kagamiya  Shoshichi,  a  tea-lover  of 
Nagoya.  According  to  Ninagawa  an  association  of  the  first  character  of  their  respec- 
tive names  was  used  as  a  mark  to  sign  their  combined  work.  The  character  Sa  may 
be  pronounced  Zo,  with  Sho,  from  Shoshichi,  as  a  prefix,  hence  Shozo !  The  mark  is 
very  rare.     The  two  pieces  in  the  collection  resemble  yellow  Seto. 

2943.  Cake-dish,  with  high  basal  ring.    D.  5I  in.   Gray-drab  clay,  light  greenish-drab  glaze, 
finely  crackled.     Shozb  (imp.).  1790        _^ 

2944.  Dish.    D.  5,^  in,     Similar  to  last.     Shozo  (^m^^.  1790     (»J*j 

MASA   (Case  26)  ^5"*^ 

In  1830  a  workman  from  Yedo,  by  the  name  of  Masa,  went  to  Nagoya,  and  there 
learned  the  art  of  making  bowls.  A  bowl  in  the  collection  bears  the  impressed  mark 
Masa,  and  the  incised  mark  Ohata  Chiizayemon.  Records  show  that  the  son  of  a 
lantern-maker  in  Yedo  went  to  Owari  and  learned  the  potter's  art,  and  as  a  boy  he 
decorated  small  cups  with  designs  in  blue.  The  single  bowl  in  the  collection  bear- 
ing the  mark  Masa  is  believed  to  be  his  work.  The  character  Masa  may  also  be  read 
Zo,  though  the  work  is  entirely  unlike  the  pieces  cata- 
logued under  the  name  of  Sh5zo. 

2945*  Bowl.  D.  5I  in.  Thick  and  heavy.  Grayish- 
drab  clay,  thick  deep  olive-brown  glaze  mottled  with  lighter 
areas.     Ohata  Chiizayemon  (inc.).    Masa  (imp.).  1830 

KURO    (Case  26) 

Hirasawa  Kuro,  also  known  as  Yoroen  Kuro,  was 
an  apprentice  of  Risoku.  His  work  consisted  of  small 
bowls,  tea-jars,  and  incense-boxes,  etc.  The  impressed 
mark  Matsu  was  used,  and  pieces  bearing  an  incised 
line  in  two  curves,  like  the  wings  of  a  bird  in  flight, 
are  attributed  to  this  potter.  The  work  is  also  known 
as  Seto  Kuro.  ^^''^ 

2946.     Tea-jar.     H.  2  in.    Light  fawn  clay,  brown  glaze  mottled  with  darker  brown,  splash 
of  golden-brown  overglaze.     Line  in  two  curves  incised  on  bottom.  1810 

2947*     OiL-BOTTLE.     D.  \\  in.     Light  fawn  clay,  whitish-fawn  glaze.     Line  in  two 
curves  incised  on  bottom.  1810 

2948.  Square  incense-box.     D.  i|  in.     Bull  with  boy  playing  flute  modeled  on 
cover.    Nearly  white  clay,  light  greenish-yellow  glaze.   Matsu  {\m^.).    1810      ^y--^ 

2949.  Incense-box.     L.  2%  in.     Mythological  turtle  with  Fukurokuju  on      AlA 
back  holding  jewel,  modeled.     Light  grayish  clay  and  glaze  with  greenish 
areas.     Matsu  (imp.).  1810       ^948 


PROVINCE   OF  OWARl 


211 


MASAKI    (Case  26  and  Plate  XIX.  2955) 

Dr.  Bunkio  Masaki  was  a  pupil  of  Hirasawa  Kurd  He  followed  the  style  of  Kuro 
in  making  incense-boxes  with  diminutive  figures  modeled  on  the  covers.  He  signed 
this  work  Masaki,  and  also  used  the  signatures  Kanriu,  Suizen,  and  Kenshin,  as  he 
assumed  a  number  of  pseudonyms.  These  later  marks  are  very  rare.  Masaki  went 
from  Nagoya  to  Seto,  where  most  of  the  pottery  was  made.  The  work  ceased  with  the 
second  generation,  in  i860. 


D.  3§  in.     Light  yellowish  clay  and  glaze. 


2950 


*9Si 


2952 


29S3 


FIRST   GENERATION 

2950.  Bowl,  modeled  in  form  of  rice-bag. 
Kanriu  (imp.).  1820 

2951.  Jar.  D.  5  in.  Rude  and  un- 
gainly to  the  last  degree.  Clay  and 
glaze  as  in  last.     Kanriu  (imp.).      1820 

2952-  Incense-box,  hexagonal.  W.  i  J 
in.  Figure  on  cover.  Yellowish-white 
clay  and  glaze.     Suizen  (imp.).         1820 

2953'     Tea-bowl.     D.  \\  in.     Dull  light  fawn  clay,  yellowish  glaze  with  splashes  of  green. 
Kenshin  (imp.).  1820 

2954*     Incense-box.     D.  15  in.     Two  figures  modeled  on  cover,  yellowish  clay  and  glaze. 
Masaki  (imp.).  1830 

2955-  Incense-box.  D.  iJ  in.  Two  figures  with  umbrella 
modeled  on  cover.  Light  yellowish  clay,  grayish-yellow  glaze 
clouded.     Shun  ichi  (inc.).  1830 

295^-     Figure  of  tea-master.     H.  5  in.     Modeled.     Light  yellowish 
clay  and  glaze.     Head-covering  brown  glaze.     Masaki  (imp.).  1830 

SECOND    GENERATION 
2957-     Incense-box  (badger).    H.  2 
Raku  glaze  with  greenish-gray  tinges. 
=isaru  (imp.). 

A  record  states  that  this  potter  signed  himself  Masaki 
Soen.  The  en  of  Soen  can  be  pronounced  Saru,  hence  the 
character  Saru  (monkey)  was  used  as  a  kakihan. 

295^-     Incense -BOX    (chestnut).      D.    i|    in 

Monkey  modeled  on  cover.     Lightest  fawn  clay  2958 

and  glaze.     Masa  (imp.).  1850 

The  two  following  objects  might  very  well  have  been 
by  the  second  Masaki.     They  are  placed  here  provisionally. 

2959-  Lion.  L.  9  in.  Modeled.  Light  yellowish  clay  and  glaze. 
Shichi-jH-go-o  Kanriku  tsukuru  (inc.).  1850 

2960.     Incense-box  (three  bales  of  rice).     L.  2^  in.     Yellow- 
ish-white clay  and  glaze.     Shunki  (imp.).  i860 


in.     Light  fawn  clay,  light  reddish 
Masaki  and  kakihan 
1850 


THE   CATALOGUE 


ICHIGO   (Case  26) 

A  box  bearing  the  mark  Ichigo  indicates  the  work  of  a  skilful  modeler  in  clay. 
The  piece  was  identified  by  Ninagawa  as  Seto,  though  nothing  was  known  as  to  the 
history  of  the  potter  or  the  date  of  baking. 

2961.  Incense -BOX,   round.      D.   3f   in.     Figure  modeled  in  relief  in   depressed  ,» 
circular  area  on  cover.     Coarse  gray  clay,  seal-brown  Raku  glaze.     Clothing  of  figure  ^O 
colored  red  on  unglazed  surface.     Inside  cover,  decoration  of  bamboo  skilfully  left  ^ 
unglazed.     Ichigo  (imp.).                                                                                                1800  ^^' 

HAGIYAMA  (Case  26  and  Plate  XIX.  2966) 

A  peculiar  form  of  Raku  pottery,  bearing  the  impressed  mark  of  Hagiyama  yaki, 
is  said  to  have  been  made  in  Nagoya  in  the  early  years  of  this  century.  The  work 
continued  until  1 840,  but  no  information  is  at  hand  regarding  the  potter.  The  pieces 
though  somewhat  pecuhar  have  no  special  merit. 

2962.  Tea  -  BOWL.     D.  4I  in.     Gray  -  drab  clay,  thick  reddish-gray  Raku  glaze  coarsely 
crackled.     Tokugawa  crest  in  black  and  white. 
Hagiyama  yaki  (imp.).  1830 

2963.  Jar.  H.  7J  in.  Fawn  clay,  thick  bright  green 
underglaze  clouded ;  thick  dark  lead  -  blue  overglaze  run- 
ning.    Hagiyama  yaki  (imp.).  1830 

2964.  Haisen.     D.  7  in.     Crenulated  edge.     Light  fawn 
clay,  strongly  clouded  grayish   glaze  with  whitish   areas. 
On  bottom,  inside,  turtle  moulded,  glazed  green  and  brown, 
and     p]    (imp.). 

2965-  Tea-bowl.  D.  4  in.  Light  terra-cotta  clay ; 
transparent  underglaze,  splashes  of  dull  yellowish 
overglaze.  Tokugawa  crest  in  deep  brown. 
Hagiyama  yaki  (imp.).  Kinjo-raku.  Tempo  haru  Sen- 
shotei  saku  [inc.].  (Also  has  been  read  Tempo  Haru- 
kawa  Shotei  saku.)  1830 

2966.  Tea-bowl.  D.  4|  in.  Light  yellow  clay, 
transparent  underglaze,  splash  of  deep  brown  and 
dark  greenish  overglaze.    Hagiyama  yaki  (ynvp.).    1830 


2962 


2963 


2964 


Hagiyama  yaki  (not  figured) 
1830 


SUISETSU   (Case  26) 

Pottery  signed  Suisetsu  is  said  to  have  been 
made  in  Nagoya  in  the  early  part  of  this  century. 
It  is  more  probably  the  work  of  a  Kyoto  potter. 
The  work  indicates  some  ingenuity  of  design. 

2967.  Hanging  flower-holder,  in  shape  of  fan. 
W.  8J  in.  Fine  light  drab  clay,  bright  yellow  under- 
glaze, thick  green  overglaze  running.  Inside,  nearly 
white  glaze.     Suisetsu  (imp.).  i860 


^ 


»* 


^ 


f^ 


2965 


UNiVt.  sriY 


PROVINCE   OF  OWART  313 


2968.  Wine-bottle.      H.  5f  in.      Light  fawn  clay,  whitish  underglaze,  green  overglaze. 
Mythological  birds  and  flowers  in  high  relief,  moulded. 
Suisetsu  (imp.).  i860 

2969.  Wine -BOTTLE,  flattened  on  one  side  to  rest  horizontally. 
H.  7J  in.  Light  fawn  clay,  transparent  underglaze,  large  splashes  of 
rich  green  overglaze.    Suisetsu  saku  (written)  and  Suisetsu  (imp.),    i860 


YOSHITOYO    (Case  26) 

A  most  perplexing  pottery,  which  has  been  variously  attrib- 
uted by  Japanese  experts  to  Karatsu,  Hizen ;  Kitakoji,  Higo,  and 
to  Owari,  proves  to  be,  through  a  typical  specimen,  Owari  and 
probably  Seto.     It  is  a  hundred  years  old  or  more. 


2970-     Tea-bowl,  sliced  on  outside.     D.  3^  in.     Dull  brown  clay, 

gray  glaze,  splashes  of  white  overglaze  around  rim.     Lines  in  dark  2969 

gray.     Yoshitoyo  (imp.).  1780 

297^-     Shallow  bowl.     D.  5  in.     Thick  and  heavy.     Dull  brown  clay,  gray  glaze  strongly 
crackled,  dark  grayish-brown  overglaze  around  rim  in  thick  drops.     Yoshitoyo  (imp.).       1780 

2972.     Handled  cake-dish,  flaring  rim  in  strong  folds.     D.  8J  in.     Fawn  clay,  transparent 
underglaze  half  covered  with  white  overglaze,  with  splashes  of  deep  green 
overglaze  on  rim.     Decoration  of  scrolls  and  leaves  in  dark  gray. 
Yoshitoyo  (imp.).  1780 

2973-     Haisen.     H.  5  in.     Dull  gray-drab  clay,  lustrous  transparent  glaze 

with  splashes  of  blue  overglaze  inside  and  out.      Yoshitoyo  (imp.).  1780      ^^^^         ^"^^ 

TOSAI   (Case  26) 

A  potter  of  the  village  of  Akatsu,  using  the  mark  Tosai,  made  pottery  showing  some 
taste  and  skill  in  the  middle  part  of  this  century. 

2974*  Cake-plate.  D.  6  J  in.  Nearly  white  clay,  light  gray  glaze  strongly  crackled. 
Decoration  of  lotus  in  blue  and  olive-green.     Tosai  (imp.).  i860 

2975-     Haisen.     D.  sf  in.    Similar  to  last  in  clay  and  glaze.    Tosai  (imp.),    i860 

SOBAITEI    (Case  26) 

A  quaint  kind  of  pottery,  signed  Sobaitei,  judging  from  appearances  may 
have  been  made  in  the  village  of  Akatsu.     It  is  placed  here  provisionally. 

2976.  Handled  cake-dish.  D.  6 J  in.  Rim  indented.  Three  looped  legs.  Light 
fawn  clay,  dull  transparent  underglaze,  splashes  of  clouded  green  overglaze.  Rude 
decoration  in  brown.     Sobaitei  (imp.).  i860 


ym 


2  14  "^^^   CATALOGUE 

2977.  Tea -BOWL.     D.  4  in.    Dull  brown  clay,  thick  olive-green  glaze,  with  brownish  areas. 
Uachi-juga  Sobaitei  Rojin  tsukuru 
(inc.).  i860 

2978.  Box,  in  form  of  duck. 
L.  i\  in.  Fine  grayish  -  brown 
clay,  dull  brown  underglaze, 
greenish-olive  overglaze. 
Hachi-ju-o  Sobaitei  Rojin  kore  wo 
tsukuru  (inc.).  i860 

TOYOSUKE   (Case  26) 

The  potter  who  was  work- 
ing at  the  Toyosuke  oven  at 

Nagoya  in  1882  claimed  to  be  the  sixth  generation  of  the 
family.  The  product  of  the  kiln  has  been  as  various  as  the 
marks,  of  which  there  are  many.  The  pottery  is  usually  soft, 
with  thick  green  and  white  glazes.  Many  pieces  are  lacquered 
outside.     The  recent  work  is  a  cheap  imitation  of  the  older  1  i_ 

forms.    An  earlier  generation  make  red  Raku  bowls  of  consider-  jT 

able  merit.     The  first  generation,  in  the  early  part  of  the  last         l  O    i 
century,  signed  his  pieces  with  the  mark  Rikei ;  the  second  ^^— «^ 

generation  used  the  marks  Toyo  and  Toyohachi,  and  this  mark 
was  used  by  subsequent  generations.     In  1840  the  mark  Toyo- 
suke was  first  used.     Many  other  marks  are  seen,  and  the  old  2978 
ones  have  been  revived. 

FIRST   GENERATION 

2979-     Jar.     H.  4}  in.     Small  mouth.     Four  looped  handles.     Light  fawn  clay,  glistening 
greenish   underglaze ;    around   upper   portion,  lustrous   golden-brown  overglaze. 
Panels,  frets,  and  characters  in  relief  moulded.     Rikei  (imp.).  1760 

Exceedingly  rare  mark. 

SECOND   GENERATION     (Plate  XIX.  2982)  2979 

2980*.     Tea-cup,  for  offering.     D.  2|  in.     Soft  light  grayish  clay,  thick  green  glaze.     Fret 
incised  and  gilded.     Toyohachi  (imp.).  1780 

2981.  Flower-vase.  H.  ioJ  in.  Body  square. 
Fine  yellowish  clay,  dark  green  glaze  clouded.  Sanji 
in  panels  in  high  relief.     Toyo  (imp.).  1800 

2982.  Bowl,  irregular  rim.     D.  5  in.     Soft  light 

fawn  clay,  yellowish  Raku  glaze  finely  crackled,  splash  of  rich  green  over- 
glaze running.     Crest  in  dark  brown,  inside  and  out.     Toyohachi  (imp.). 


PROVINCE   OF  OWARI 


aiS 


THIRD   GENERATION 

2983.    Tea-jar.     H.  2J  in.    Light  gray-drab  clay,  polished  gray-drab  surface  with  black 

areas.     Conventional  flowers  in  white. 

Koren-ri  Horaku-ken  kore  wo  tsukuru  (inc.).  1820 

FOURTH    GENERATION 

2984-  Box,  drum-shaped.  D.  5J  in.  Soft  clay,  yellowish-white  glaze. 
Body  light  red  Raku  glaze.  Cover  glazed  light  green  and  purplish-brown 
with  Tokugawa  badge.     Toyoraku  (imp.).  1840 


FIFTH   GENERATION 

2985'    Incense-burner.     H.  zf  in.     Light  fawn  clay,  green  glaze, 
and  gilded.     Toyosuke  (imp.). 

2986.     Incense-b.ox  (bird).     L.  2J  in 
parent  glaze.     Toyosuke  (imp.). 


Simple  design,  incised 
1850 

Light  fawn  clay,  purple,  grefen,  yellow,  and  traris- 

1850 


Toyosuke  (imp.). 


1850 


299s 


2987.     Hand-warmer.     D.  6J  in.     Top  perforated. 

2988*.     Cup-rest.     Toyohachi  (imp.).     1850 

2989-  Incense-box.  L. 
3  in.  Light  fawn  clay.  In- 
side, white  glaze  with  rich 
green  splashes.  Plum  blos- 
soms in  black.  Outside, 
lacquered  with  pomegran- 
ate decoration.  1850 

2990-2995-  Forms  of  Toyosuke,  lacquered  and  otherwise,  variously  signed  Bairaku  (2990), 
Toyosuke  (2991),  Keiraku  (2992),   Toyoraku  and  Kiyodo  (2995). 

2996-     Fire-vessel.      D.  5J  in.      Fine  pinkish-fawn  clay,  red- 
dish and  black  areas,  unglazed.     Kiyodo.  i860 

2997.     Raku  tea-bowl.     D.  4^  in.     Soft  clay,  light  red  Raku 

glaze  with  large  areas  of  mottled  green  glaze. 

Toyoraku  (imp.).  i860 

SIXTH   GENERATION 

2998'     Box,  in  exact  form 
of   bivalve   shell.      L.  4  in. 
Outside,  smooth  surface  un- 
glazed, gray -drab   in    color  2997 
with   white    areas.      Inside, 
grayish-white  glaze.     Decoration  of  figures  and 
clouds  delicately  drawn  in  blue.    Unsigned.  1878 
A  beautiful  piece  of  work. 

2999-3003.     Forms  of  Toyosuke,  variously 

signed  Toyosuke {2<)q<)*),  Roku-Jii-ku  (3000),  Oki-uji set  Horaku  {t,ooi),  and  OkiBoraku  {^ooz). 


3001 


3003 


2l6 


THE   CATALOGUE 


Inside,  radiating 
1780 


SASASHIMA  (Case  26  and  Plate  XIX.  3005) 

A  well  marked  soft  pottery  bearing  the  impressed  mark  Sasashima  was  made  in 
a  village  of  that  name  near  Nagoya,  in  the  middle  of  the  last  century.  Ninagawa 
attributed  this  work  to  one  of  the  Toyosuke  potters.  Careful  inquiries  at  the  Toyosuke 
oven  failed  to  bring  out  any  allusion  to  the  use  of  this  mark  in  earlier  generations. 
As  the  work  is  quite  different  in  character,  and  possesses  a  merit  distinct  from  that 
of  Toyosuke  pottery,  it  will  be  considered  under  the  name  Sasashima.  One  object, 
signed  Bokusai,  etc.,  may  give  some  clue  as  to  one  of  the  potters. 

3004.  Figure,  vigorously  modeled.      H.  8  in.     Dark  gray  clay,  unglazed.      Cloth-mark 
impression  outside.     Sasashima  (imp.).  175° 

3005.  Haisen,  on  three  stout  legs.  Longest  diameter  7  in.  Irregu- 
lar oval  outline.  Fine  soft  fawn  clay,  thick  yellowish-white  glaze.  Over- 
decoration  of  quaintly  drawn  lion  in  yellow,  outlined  and  dotted  with 
brown,  on  a  background  of  floral  scrolls  in  green  outlined  in  black  with 
purple  buds  and  flowers.     Sasashima  (imp.).  1750 

Gift  of  Denman  W.  Ross. 

3006.  Shallow  bowl.     D.  5J  in.     Light  salmon  clay,  transparent  glaze, 
zigzag  lines,  circles,  etc.,  in  white  slip.     Sasashima  (imp.). 

3007.  Square  cake-tray.     W.  7  in.     Flaring  sides.     Light  fawn  clay,  greenish-white  glaze 
coarsely  crackled.     Over-decoration  of  shell,  clouds,  and  castle  in  blue.     Unsigned.         1780 

3008.  Shallow  bowl.      D.  6|  in.      Nearly  white  clay,  transparent  underglaze,  greenish- 
white  overglaze.     Overglaze  decoration  of  maple  leaves  in  salmon-brown. 

Sasashima  (imp.). 

3009.  Tray,  in  form  of  dust-pan.     L.  8  in.    Light  clay, 
yellow  glaze.     Sasashima  (imp.).  1800 

3010.  Tea-bowl.    D.  4f  in.    Fawn  clay,  transparent  un- 
derglaze, red  Raku  overglaze  with  greenish  areas. 
Sasashima  (imp.).  1830 

3011.  Cake-plate.    D.  •j\  in.    Soft  yellowish-fawn  clay 

and  glaze,  strongly  crackled.     Rectangular  panel  in  greenish-white,  inside,  upon  which  is  a 
devil  in  buff,  brown,  yellow,  purple,  and  green.     Sasashima,  in  double  gourd  (imp.).         1850 

3012.  Cake-bowl.  D.  6f  in.  Modeled  by  hand.  Rim  crenulated.  Soft 
fawn  clay,  thick  greenish-white  glaze.  Inside,  over-decoration  of  gourds, 
leaves,  and  flower  in  dark  green  and  brownish-yellow,  outlined  in  dark  brown. 
Shichi-jH-o  Sasashima  Bokusai  (imp.).  1870 

FUJIMI    (Case  26  and  Plate  XIX.  3022)  ^""^ 

The  first  potter  of  this  family  was  Hozo  Ichiye,  who  began  work  in  the  latter  part  of 
the  last  century.  His  son,  Hachiroyemon  Murase,  succeeded  to  the  oven  in  the  early 
part  of  this  century.  His  nephew  bearing  the  same  name  assumed  control  in  1844, 
and  to  him  I  am  indebted  for  these  brief  notes.  It  has  been  impossible  to  separate  the 
work  of  these  potters,  though  the  older  pieces  are  evidently  the  work  of  the  founder. 


1800 


CASE    26 


XS**! 


lSi-9 


2!>29  X'i'iO 


ZS7/ 


XJbS 


X^ii    rfbo  i^ss-  jsfg  MS^  zwv  Msii9»-8  isvz  i9y6     154-0        zTsT" 

^t3V  1SZ6         „,,_  1936  1-ti"  ili'' 


^-^■^V^-r<^l-^-^+4^ 


ivn      ViHb      iss**        tyss-        iysfr  2^1?       iSob        196/     zs^^       iTVy  zvTT 

3009 


\'  fx  '•'  *\V  ■-■-,'■' 


3007 


3011 


s.  ^-rv".'/! 


2963      iSbb 


30O8  3010 


IbOS         15T, 1978 


Z607 


1970  197/ 


PROVINCE  OF  OWARI 


Ol'     rut 


UNiVt-SlTY    ,ij 

J 


Aj 


i?UHO'<'*'^ 


PROVINCE   OF  YAMASHIRO 


317 


3013 


1 

3015 
i860 

1870 


3013.  Tea-bowl,  irregular  in  shape.    D.  i\  in.    Grayish-drab  clay.    Rough  surface,  thick 
greenish  glaze,  mottled,  running  halfway  down.     Fuji  (imp.).  1800 

3014.  Tea-jar.     H.  2f  in.     Dull  reddish  clay,  thick  greenish  glaze,  mot- 
tled. 1800 

This  tea-jar  is  placed  here  provisionally. 

3015.  Vessel,  in  form  of  mythological  hammer.     D.  3!  in.    Light  fawn 
clay,  brown  underglaze,  thick  brown  overglaze.     Fuji  (imp.). 

Gift  of  F.  H.  Bigelow. 

3016-302I.     Bowls,  bottle,  plate  for  offering,  and  comfit-bottle. 

3022.    Wine-bottle.   H.  j^in.   Light  ^^ 

fawn  clay,  transparent  glaze.     Pine  in- 
cised. 1878 
This  object  appears  much  older,  and 
illustrates  the  effect  of  constant  use. 


30^3.  Tea-bowl.  D.  5  in.  Metal  rim. 
Fine  brown  clay,  glistening  olive-green 
glaze  running  into  thick  drops  of  light 
blue.  1880 

3024—3029.     Flower-holders,  tea-pots,  and  bowl. 

Nos.  3016  to  3027  are  various  marks  of  Fuji,  with  the  exception  of  3019,  which  is 
Fujimi yaki,  and  3025,  Fuji  Satijin. 


PROVINCE   OF  YAMASHIRO 


Kyoto,  —  the  capital  of  the  Mikados  for  over  a  thousand  years  ;  the  home  of  court 
nobles,  of  artists,  poets  and  historians,  and  artisans  of  the  highest  skill,  —  what  wonder 
that  the  refining  influences  of  such  an  august  assemblage  should  reflect  itself  in  the 
character  of  the  art  hand-work  of  this  centre !  The  potter's  art  here  found  its  highest 
expression  ;  and  the  names  of  Koyetsu,  Ninsei,  Kichizayemon,  and  later  Zengoro,  Ken- 
zan,  Mokubei,  Hozan,  Dohachi,  Rokubei,  Kitei,  and  others  are  known  throughout  the 
empire,  and  some  of  these  have  a  world-wide  reputation.  From  this  centre  potters  at 
various  times  in  the  past  have  been  called  to  neighboring,  as  well  as  far-distant  pro- 
vinces, there  to  establish  new  ovens  or  to  influence  the  work  already  established.  The 
fame  of  the  Kyoto  potters  led  to  a  preservation  of  their  family  histories.  Their  essays 
were  usually  signed,  and  thus  the  identification  and  classification  of  Kyoto  pottery  is 
comparatively  easy. 

KOYETSU    (Case  34) 

This  potter  was  an  amateur  of  the  seventeenth  century.  His  name  is  famous  in 
the  annals  of  Japanese  potters.    He  made  red  Raku  bowls  and  other  objects  used  in  the 


2i8  THE  CATALOGUE 

tea-ceremony,  employing  in  some  of  these  Shigaraki  clay.     His  work  is  of  extreme 
rarity. 


/at» 


t  + 


3030.  Tea-bowl.      D.  45  in.      Massive  and  heavy.      Hard  light  brown 
clay,  thick  light  purplish-gray  glaze,  closely  pitted,  dull  lustre. 

Signed  with  a  kakihan.  1600 

TAKAGAMINE    (Case  34  and  Plate  XXIII.  3033) 

Pottery,  known  under  the  name  of  Takagamine,  was  made  by  Honnami  Kuchu,  also 
known  as  Koho.  He  was  a  son  of  the  famous  Koyetsu,  and  became  so  skilful  that  he 
succeeded  with  credit  to  his  father's  work.  He  made  incense-boxes  of  Shigaraki  clay, 
and  bowls  which  resemble  Hagi.  A  number  of  marks  were  used  by  this  potter,  among 
which  were  Kuchu,  incised,  and  Kd  and  Akaski,  impressed. 

3031.  Cover  rest  (cylinder).      H.  2  in.      Modeled  by  hand.     Yellowish-white  clay,  light 
glistening  buff  glaze,  clouded.     Rough  surface.  %  _ 
Koiim^.).                                                                1630        /^^^^^^\           '^        ^>V 

3032.  Incense-box.  D.  2|  in.  Modeled  by  hand. 
Light  fawn  clay,  roughly  cut,  thin  transparent  glaze. 
Insect  rudely  modeled  on  cover.   Kuchu  (inc.).    1630 

3033-  Tea-bowl.  D.  4 J  in.  Modeled  by  hand. 
Hard  whitish -fawn  clay,  thin  glistening  iridescent  303'  303*  3033 

wine-colored  glaze  running,  exposing  nearly  white  areas.     Kuchu  (inc.).  1630 

Gift  of  John  C.  Bancroft. 

NINSEI    (Case  ^^  and  Plate  XXIII.  3034,  3037,  3039,  3040) 

Nonomura  Seibei,  son  of  Seiyemon,  of  Ninwaji  village,  stands  foremost  in  the  ranks 
of  Japanese  potters.  His  pseudonym  was  compounded  from  the  first  character  of  his 
birthplace,  Ninwaji  (some  authorities  state  that  he  was  born  in  Tamba),  and  the  first 
character  of  his  name,  Seibei.  Artists  in  Hizen  claim  the  distinction  of  first  decorating 
in  vitrifiable  enamels  in  1650.  The  secrets  of  their  methods,  though  well  guarded,  came 
into  the  possession  of  Ninsei,  and  through  him  to  the  knowledge  of  contemporary  and 
subsequent  potters  who  studied  under  him.  Ninsei's  influence  so  elevated  the  art  in 
Ky5to  that  it  became  at  that  time,  and  has  since  remained,  the  keramic  art  centre  of 
Japan.  Early  records  vary  as  to  whether  Ninsei  learned  the  rudiments  of  the  art  from 
Shohaku,  of  Tosa,  or  imparted  his  knowledge  to  ShShaku.  The  fact  that  Ninsei  was 
active  in  1680  is  attested  by  evidences  from  other  sources.  Ninsei  was  a  skilful  painter 
as  well,  and  in  Japanese  works  is  recorded  as  an  artist  with  date  of  activity.  There  is 
also  in  the  Weld  collection,  belonging  to  the  Museum  of  Fine  Arts,  Boston,  a  kake- 
mono with  the  signature  of  Ninsei  identical  in  character  to  the  cachet  with  which  he 
signed  his  pottery.  Ninsei  established  ovens  in  Seikanji,  Otowa,  Gobosatsu,  and  after- 
wards in  Kiyomizu.  The  pottery  made  in  Seikanji  is  said  to  have  been  signed  with 
the  mark  Sei  in  square  panel.  Ninagawa  refers  this  mark,  and  I  think  justly,  to  the 
Kiyomizu  work,  as  the  Seikanji  pottery  bears  the  full  mark  Seikanji.     At  these  vari- 


PROVINCE   OF   YAMASHIRO  219 

ous  ovens  in  and  near  Kyoto  Ninsei  freely  imparted  his  methods,  and,  from  that  time 
to  the  present,  imitations  have  been  attempted  bearing  the  forged  mark  Ninsei.  Many 
of  the  earlier  imitations  are  so  excellent  in  quality  and  design  that  it  seems  lamentable 
that  potters  with  so  much  skill  should  have  concealed  their  names  and  buried  their 
reputations  under  fraudulent  essays.  The  collection  herein  catalogued  contains  nearly 
all  the  Ninagawa  types  of  Ninsei.  I  am  inclined  to  question  the  genuineness  of  a  num- 
ber of  these ;  or,  to  state  it  in  another  way,  if  the  Ninagawa  types  are  genuine,  then 
many  other  objects  in  the  collection  signed  Ninsei  are  genuine,  which  is  past  belief. 

The  two  marks  usually  ascribed  to  Ninsei  are  :  first,  the  simple  mark  Ninsei  with- 
out border ;  and  second,  the  mark  Ninsei,  known  as  Maku-in  (looped  curtain).  Accord- 
ing to  the  work  Tokiko,  this  double  loop  over  the  mark  does  not  represent  a  curtain, 
but  is  a  contraction  of  the  middle  character  Ouchi-yama,  which  is  also  written  Omuro- 
yania,  at  which  place  Ninsei  at  one  time  made  pottery.  In  the  same  work  is  given  a 
number  of  marks  used  by  Ninsei,  one  being  used  on  fire  vessels  made  of  Shigaraki 
clay,  and  others  on  pottery  made  at  Iwakurayama,  Omuro,  and  Seikanji.  If  this  state- 
ment is  correct,  and  I  have  serious  doubts  about  it,  then  there  are  many  forms  of 
Ninsei  supposed  to  be  fraudulent  which  after  all  may  prove  to  be  genuine. 

3034-     Tea-bowl.    D.  4f  in.    Flaring  sides,  symmetrical.     Fine  light  fawn  clay,  fine  ^i 

grayish-white  glaze  delicately  crackled.     Over-decoration  of  pinks  in  light  green  and  ^1^ 

red.     Ninsei  (imp.).  1650  -q,^ 

Type  Ninagawa.     Part  IV.,  Fig.  7. 

3035*  Tea-bowl.  D.  4J  in.  Fine  drab  clay,  thick  light  straw  glaze,  slightly  rough  surface. 
Ornamental  border  in  red,  blue,  green,  and  gold.     Ninsei  (imp.).  1650 

3036.     Tea  -  bowl.      D.  45  in.      Rough  light  brown  clay,  transparent  underglaze,      ^  * 

golden-brown  overglaze  running.     White  granules  in  glaze.     Ninsei  (imp.).  1650      ^V 

Type  Ninagawa.     Part  IV.,  Fig.  13.  3°36 

3037-  Tea-jar.  H.  3^^  in.  Light  gray-drab  clay,  thick  white  glaze,  coarsely  crackled. 
Around  shoulder  black  glaze.     Ninsei  (inc.).  1650 

Type  Ninagawa.     Part  IV.,  Fig.  8.  x^—         ._ 

3038.    Tea-jar.     H.  3J   in.     Light   drab   clay,  light  brown  glaze,  with        ^^        ($ 
splashes  of  darker  brown.     Ninsei  (imp.).  1650        yyy,         3038 

Type  Ninagawa.     Part  IV.,  Fig.  10. 

3039-     Tea-jar.     H.  2\  in.     Yellowish-white  clay  and  glaze.     Over-decoration  of  flowers, 
bamboo,  temple,  etc.,  in  panels  in  green  and  blue  enamels  and  black,  touched  with 
red  and  gold.     Between  panels  is  elaborate  diaper  in  the  same  colors.     Sei  in 
square  panel  (imp.).  1650 

Type  Ninagawa.     Part  IV.,  Fig.  6.  ^"■^^ 

3040.     Bowl.     D.  sJ  in.     Fine  fawn  clay,  grayish-white  glaze.     Rim  of  thick  white  glaze. 
Over-decoration  of  rocks,  trees,  etc.,  in  light  green  and  thick  blue  enamels  and  red 
and  black.     Obverse  side,  pinks  and  grass  in  pale  blue  underglaze.     Strong  spiral 
mark  on  bottom.     Sei  in  square  panel  (imp.).  1650 

Mark  and  decoration  identical  with  the  Ninagawa  type  No.'  3039,  the  only  other 
specimen  I  have  ever  seen. 


m 


220  THE   CATALOGUE 

3041.  Incense-box   (rabbit).      H.    i|  in.    Very  light  fawn  clay,  grayish  -  white  glaze. 
Unsigned.     If  genuine,  an  exceedingly  interesting  piece.  1650 

Type  Ninagawa.     Part  IV.,  Fig.  5. 

3042.  Bowl.    iV/'«j«  (imp.).  1650 

3043.  Bowl.     D.  4I  in.     Very  light  fawn  clay,  grayish-white 

glaze,  strongly  crackled.     Brush  fence,  and  pinks  in  black,  blue, 

red,  and  gold.    Kiyo  (imp.).     Extremely  rare  mark  of  Ninsei. 

j6jo  3042        3043  3044 

3044.  Jar,  wide  mouth.  H.  ?>\  in.  Fine  light  fawn  clay,  fine  yellowish-white  glaze.  Bands 
of  scrolls  in  light  green  near  rim,  pendent  from  which  are  beads  and  tassels  in 

black,  red,  green,  blue,  and  gold.     Ninsei  (imp.).  1650         1^ 

3045.  Bowl.     D.  5I  in.     Side  cut  and  lapped.     Light  drab  clay,  light  gray-drab        ^^ 
glaze.    Decoration  of  bamboo  fence  and  chrysanthemums  in  black.    Unsigned.    1650       ^04 

3046.  Tea-jar,  double  gourd-shaped.  H.  2J  in.  Light  gray-drab  clay,  mottled  light 
brown  glaze,  with  dark  brown  overglaze,  blistered  around  neck,     Ninsei  (imp.).  1650 

Type  Ninagawa.     Part  IV.,  Fig.  2. 
This  object  is  evidently  a  reject. 

3047.  Box  (bivalve  shell).  L.  4^  in.  Light  fawn  clay,  very  thick  light  fawn  glaze.  New 
moon  in  silver,  clouds  in  gold.     Outline  of  waves  in  dark  gray. 

Ninsei  (imp.).  1660 

Type  Ninagawa.     Part  IV.,  Fig.  14. 

3048.  Box.     H.  if  in.     Hard   gray-drab   clay,  cold  light  gray  glaze. 
Decoration  of  scrolls,  etc.,  deeply  incised.     Ninsei  (imp.).  1660 

Type  Ninagawa.     Part  IV.,  Fig.  9. 

3049.  Incense-box,  in  form  of  lacquer  tea-jar.  H.  2J  in.  Fine  light  gray  clay,  hard 
smooth  grayish-white  glaze.  Two  bands  of  ornamental  circles  in  green,  red,  and  light 
purple,  outlined  in  gold.     Ninsei  (imp.).  1660 

Gift  of  Michitaro  Hisa.  F^ 

A  very  curious  piece.  Vi(£/ 

3050.  Bowl.     D.  5-^  in.     Ninsei  (imp.).  1660        305° 

3051.  Bowl.  D.  4f  in.  Fine  gray-drab  clay,  thin  light  brown  glaze,  without  lustre,  with 
rich  golden-brown,  dark  brown  and  bluish  overglaze  in  splashes  running  from  rim.  Plum 
blossoms  and  spots  in  white  glaze  crackled.  Ninsei  (imp.).  1660 
3052-3062.  Incense- BOXES,  tea-jars,  bowl,  etc.,  signed  and  unsigned,  attributed  to 
Ninsei. 

3063.  Tea-bowl.     D.  s  in.     Fine  gray-drab  clay,  fine  black  iridescent        iT         H?\ 
glaze  with  tent  screens  in  white  glaze.    Ninsei  (imp.).  1660         *  ^ 

Gift  of  Denman  W.  Ross.  -^  ^  ^  ^ 

3064.  Tea-bowl.  D.  5J  in.  Rough  brown  clay,  brown  underglaze,  darker  brown  over- 
glaze nearly  concealed  by  light  blue  and  white  glaze  running  in  fine  threads.    Ninsei  (imp.). 

Gift  of  W.  S.  Bigelow.  1660 


PROVINCE    OF  YAMASHIRO  221 

3065.    Tea-bowl.     D.  4I  in.     Fine  brown  clay,  transparent  underglaze  nearly  concealed  by 
light  fawn  and  bluish  overglaze  running.     Ninsei  (imp.).  1660 

Gift  of  Geo.  W.  Wales. 

3066-3068.     Incense-boxes  (kingfisher  and  goose)  and  bowl,  attributed  to  Ninsei. 

3069.  Bowl-like  plate.  D.  6f  in.  Thick  and  heavy.  Wavy  rim. 
Brown  clay,  drab  underglaze,  thick  cream-white  overglaze,  coarsely 
crackled.  Outside,  splash  of  thick  light  green  overglaze.  Inside, 
rough  landscape  in  bluish-black.  Two  leaves  of  Paulownia  and  stems 
in  relief,  moulded  and  applied  inside  the  bowl.  Basal  ring,  coarsely 
notched.     Ninsei  (imp.).  1660 

If  this  is  genuine  it  represents  Ninsei's  work  in  Kiyomizu. 

Gift  of  W.  S.  Bigelow. 

3070-3082.    Various  pieces,  signed  iV/«j«,  representing  fraudulent  essays. 

AKASHI  (Case  33) 

The  following  piece  was  identified  by  Ninagawa  as  the  early  work  of  Seisuke 
while  still  with  NinseL  It  is  so  strangely  unlike  the  Kyoto  pottery  of  that  period 
that  I  should  have  been  inclined  to  catalogue  it  with  the  Akashi  pottery  of  Harima 
(see  p.  1 50),  though  Ninagawa  may  have  had  records  showing  that  this  particular 
piece  was  made  by  Seisuke  at  that  time. 

3083.  Bucket-shaped  vessel.     H.  3J  in.     Thick  walls.     Hard   light  grayish-drab  clay 
with  light  red  tinge,  thick  yellowish  glaze.    Over-decoration  of  scrolls,  splashes,  etc.,         -^ 
in  bright  red,  green,  and  black,  roughly  drawn.    Akashi  (imp.),  1680       yi^ 

This  form  of  mark  is  extremely  rare,  vS/ 

3083 

SEIKANJI    (Case  n) 

In  1670,  under  the  direction  of  Ninsei  and  Kuhei,  brocade-decorated  pottery  was 
made  in  the  Seikanji  oven.  The  work  was  refined  in  form  and  decoration,  and  is 
extremely  rare. 

3084.  Cake-dish,  deep  scalloped  edge.    D.  7J  in.    Fine  light  drab  clay,  grayish-white 
glaze,  strongly  crackled.     Over-decoration  of  chrysanthemums  inside  in 

red,  green,  blue,  and  gold.    Basal  ring  perforated  with  double  gourd-shaped 
decoration.     Seikanji  (imp.).  1670 

3085.  Bowl.     D.  4J  in.     Fine  light  drab  clay,  transparent  glaze  with 
grayish  areas.     Prawn  in  olive-brown.     Seikanji  (imp.).  1670 

SOMEN   (Case   33) 

The  potter,  Sohen,  was  a  master  of  the  tea-ceremony.  He  made  a  soft  faience 
with  dead  black  glaze.  His  work  was  considered  quaint  and  tasteful.  Sohen  was  a 
pupil  of  Sotan  in  1660.     At  one  time  he  baked  in  Ninsei's  oven. 


222 


THE   CATALOGUE 


3086.    Jar,  square,  with  round  corners.     H.  6J  in.     Moulded  by  hand.     Soft  light  clay, 
thin  greenish  underglaze,  lustrous  black  overglaze  covering  entire  surface.     Scrolls,  lines, 
and  characters  broadly  incised.     Inside,  thin  greenish  glaze.     Shiho  an  Sohen  (inc.).        1660 
Type  Ninagawa.     Part  IV.,  Fig.  33. 


3086 


3087 


3087.  Jar,  similar  in  form  and  decoration  to  last.  H.  6  in.  Gray  clay,  thin  greenish 
underglaze,  dull  black  overglaze  covering  entire  surface  inside  and  out  except  bottom  of 
cover,  which  is  unglazed.     Sohenzan  Ninsei  kore  wo  yaku  (inc.).  1660 

3088.  Incense-box,  Hotel  with  bag,  in  relief.  D.  3  in.  Light  red  Raku  clay,  thick  red 
Raku  glaze  with  greenish  areas  above  and  below.     Coarsely  crackled. 

Shiho  an  Sohen  written  in  red  lacquer  on  inside  of  cover.  1660 


HARIMA   (Case  33) 

A  potter,  under  the  pseudonym  of  Tsujii  Harima,  made  pottery  in  the  early  part  of 
the  eighteenth  century.  His  work  consisted  chiefly  of  fire-vessels  and  incense-boxes. 
The  pieces  were  signed  with  the  impressed  mark  Harima,  and  are  extremely  rare. 

3089.  Incense-box  (quail).  L.  3;^  in.  Outside,  red  lacquer  gilded.  Inside,  rich 
black  lacquer.  Bottom,  inside,  light  gjeen  glaze.  Feathers  of  bird  beautifully  cut. 
Harima  (imp.).  1720 

TSUJII   HARIMA  (Case  33) 

The  successor  of  Harima  continued  in  the  same  work,  but  signed  his  pieces 
Tsujii  Harima.  His  pottery,  though  more  pretentious,  is  considered  inferior.  The 
mark  is  rare. 


CASE    27 


3l6l        3167       ins      3no  3I6S 


3111  3)76  3162.  3l6y         3i6'«       J/63 

3107  .  315 


r^n 


310V 


3.3J  3.^0       ^"fi*  -^'IJ  ^ii^o     f^^^^  S    R    'H^  'f?    "r?     II     I  r'^ 


V^^^ 


3126  3102  j|<,6 


3117         ,,,, 


31Z.1 


3>lS  3106        3139        3113 


'':!:;iliiit 


3ZI0 


3^183^ 


3ZI3  32.07  3111 

3188 


3187 


-Wi!P;^~^'®'     !; 


8  b- 


\ip/^S!^^rav^^  O'^ 


3Z30 


3ZJ1 


32.V? 


3Z')0 


3Z«»2       3Z*iJ 


PROVINCE  OF  YAMASHIRO 


PROVINCE   OF   YAMASHIRO  323 

3090.  Incense-box  (bird).  L.  3!  in.  Very  light  fawn  clay,  pale-yellow  glaze.  Wings, 
head,  and  tail  light  red.     Tsujii  Harima  (imp.).  1780 

3091.  Incense-box  (badger,  draped).  H.  2\  in.  Very  light  fawn 
clay,  purplish-brown  glaze,  face  white.  Inside,  transparent  glaze  with 
tinge  of  green.     Tsujii  Harima  (imp.).  1780 

3092.  Cup-rest.  D.  s|  in.  Dull  brown  clay,  grayish-green  glaze. 
Circles,  stars,  etc.,  in  white  Mishima.  Two  bands  of  thick  white  glaze 
with  blue  clouds  and  cranes.     Tsujii  Harima  (imp.).  1780 

3093.  Wine-bottle.    H.  10  in.   Gray-drab  clay,  grayish  glaze  strongly        3^  3093 
crackled.     Surface  coarsely  covered  with  scrolls  in  thick  blue  enamel. 

Tsujii  Harima  (\m^.).  1780 

FUJI    (Case  33) 

A  floral  decorated  pottery  with  light  glaze  like  old  Kiyomizu  bears  the  impressed 
mark  of  Fuji.  The  pieces  were  evidently  made  in  the  early  part  of  the  last  century, 
and  indicate  the  work  of  a  refined  artist  and  a  professional  potter.  The  influence  is 
strongly  Ninsei. 

3094*  Bowl.  D.  5J  in.  Gray-drab  clay,  very  light  grayish-drab  glaze.  Over-decoration 
of  iris  in  grayish-blue,  green,  and  red.     Strongly  turned.     Fuji  (imp.).  1700 

3095-  Incense  -  burner.  H.  2\  in.  Grayish-yellow  clay  and  glaze.  Brush  fence,  and 
flowers  in  light  green  and  light  blue  enamels,  touched  with  red  and  gold.  Inturned  rim  with 
ornamental  border  in  light  blue  and  red  touched  with  gold.     Fuji  (imp.).  1700 

3096.     Wine -BOTTLE,  double  gourd -shaped.      H.  8  in.      Drab  clay,  yellowish-fawn  glaze 
coarsely  crackled.      At  base  band  of  rich  green  glaze.      Elaborate  decoration  of 
flowers,  scrolls,  figures,  drum,  etc.,  in  blue  and  green  enamels  with  red  and  gold. 
Fuji  (im'p.).  1700 


YAMAKE   (Case  28) 

A  wine-bottle  with  beautiful  decoration  bears  the  mark  Yamake.  No  informa- 
tion as  to  maker  or  date  is  at  hand  It  is  recognized  by  the  Japanese  as  old  Kiyomizu. 
It  shows  strong  Ninsei  influence. 

3097.     Wine-bottle.      H.  7f  in.      Fine  fawn  clay,  very  light  fawn  glaze.      Flowers,  birds, 
pine-tree,  etc.,  in  green  and  dark  blue  enamels,  shaded  with  red  and  gold.  ^  |  j 

Yamake  (imp.).  1700 


YAMADA  (Case  28)  3097 

A  long-necked  flower-holder,  richly  decorated,  bearing  the  mark  Yainada,  belongs 
to  the  old  Kiyomizu  type,  and  may  be  related  to  No.  3097. 

3098.  Flower-holder,  square,  gracefully  tapering  to  slender  neck.  H.  8^  in.  Fawn  ^^jj. 
clay,  light  fawn  glaze.  Iris  and  other  flowers  in  dark  blue  and  green  enamels  shaded  i^j 
with  gold.     Vigorously  drawn.      Yamada  (imp.).  1700      3098 


224  THE   CATALOGUE 

AWATA  (Case  27  and  Plate  XX.  3100,  3101) 

Typical  Awata  was  first  made  in  Awata  district,  Kyoto.  The  early  pieces  are  not 
signed.  They  are  grayish  in  color  and  undecorated.  Specimens  of  early  Awata  reveal 
in  the  glaze  under  an  ordinary  lens  air  bubbles  closely  crowded  together.  Decorated 
Awata  appeared  in  1620,  and  much  of  the  early  work  is  attributed  to  Ninsei.  The 
mark  Awata  first  appeared  at  this  time,  and  this  mark  has  been  used  since  by  various 
Awata  potters  unaccompanied  by  their  own  signatures. 

3099-  Flower-holder,  in  form  of  three  sections  of  bamboo  of  different  lengths,  adhering, 
with  modeled  plum-blossoms  in  front.  H.  3f  in.  Grayish-white  clay  and  glaze  strongly 
crackled.  1600 

Ninagawa  regarded  this  as  the  earliest  Awata. 

3100.  Covered  bowl.  D.  4^  in.  Very  light  fawn  clay,  light  gray  glaze  coarsely  crackled. 
Pine  and  plum  in  dark  gray  and  pale  blue,  continuous  on  cover.  1620 

Type  Ninagawa.     Part  IV.,  Fig.  17, 

3101.  Tea-jar.  H.  3^in.  Fawn  clay,  thick  grayish-fawn  glaze,  coarsely  crackled.  Brocade 
decoration  in  red  and  gold  about  shoulder.  On  side,  fence  in  black  and  convolvulus  in  blue 
and  green  enamels  touched  with  gold.  1620 

Type  Ninagawa.     Part  IV.,  Fig.  18. 

3102.  WiNE-BOTTLE.  H.  7  in.  Very  fine,  light  gray-drab  clay,  light  grayish-fawn  glaze. 
Vigorous  decoration  of  flowers  and  leaves  in  dull  blue  and  dull  gray,  nearly  black  in  some 
portions.     Awata  (imp.).  1665 

3103.  Jar.    H.  7f  in.    Coarse  grayish-drab  clay,  with  large  area  tinged  with  fawn.    Coarse 
white  granules  in  clay.     Outside,  unglazed.     Inside,  transparent  glaze.  _ 
Awata  (imp.).                                                                                                               1665 


3104-  Box,  double  gourd-shaped.  H.  2J  in.  Very  light  fawn  clay,  nearly  white 
glaze.  Circular  panels  containing  figures,  birds,  etc.,  with  lattice  work  between  in 
dark  blue.     An  exquisite  example.  1680      3'°3 


3105.  Bowl.  D.  4J  in.  Very  light  grayish  clay  and  glaze.  Plum-tree  and  blossoms  and 
pine  in  thick  bright  blue  and  light  green  enamels  with  red  flowers,  touched  with  gold.      1680 

3106.  Dish.  D.  3!  in.  Sides  obliquely  fluted  and  rim  scalloped.  Pale  Japanese  yellow 
clay  and  glaze.     Radiating  figures  in  brown  and  blue.    Awata  (imp.).     1680 

3I07-3I^^'    Cake-dishes,  bowls,  wine-bottles,  etc.  1680-1780      ^J        ^l 

31 17-     Bowl.      D.  4I  in.     Very  light  gray-drab  clay,  and  glaze   strongly      ^^         ^ 

crackled.     Tokugawa  crest  and  pink  in  blue  and  olive-brown. 

Awata  (imp.).  1780 

3II8.  Bowl,  slightly  irregular.  D.  4I  in.  Light  fawn  clay  and  glaze.  Vigorous  drawing 
of  house  roof  and  bamboo  in  gray,  black,  and  light  brown.  Obscure  designs  in  gold  nearly 
erased.     Awata  (imp.).  1780 

31 19-3125.    Various  forms  of  Awata.  1780-1800 


PROVINCE   OF   YAMASHIRO  223 

3126.  Cylindrical  flower-vase.    H.  10  in.    Fawn  clay,  dull  reddish-brown  glaze.    Stone 
lantern  and  formal  designs  of  rock  in  thick  white  slip  tinted  with  various  shades 
of  brown  and  pale  green  touched  with  dull  blue  and  black.     Inside,  transparent 
glaze.     Unique  form.     Awata  (imp.).  1800 

3127.  Wine-bottle.     H.  7J  in.     Similar  to  last.  1800 

3128.  Cup,  egg-shaped.      D.  2^  in.     Fine  reddish  clay.     Persian  design  on  un- 
glazed  surface  in  thick  white  slip,  coarsely  crackled.     Design  glazed  in  blue,  bright  yellow, 
deep  purple,  pale  green  and  bright  red  enamels.  1800 

An  exceedingly  rare  form. 

3129-3138.     Wine-bottles,  tea-pots,  and  bowls.  1800-1850 

3139'     Bowl.     D.  4-,'^  in.     Japanese  yellow  clay  and  glaze  with  grayish  area.     Acorns  and 
leaves  in  brown  inside  and  out.  1850 

Gift  of  John  Green. 

3140-     Tea-pot.     D.  2J  in.     Very  light  fawn  clay,  Japanese  yellow  glaze.     Crests  in  olive- 
brown.     A  most  delicate  piece  of  work.  1850 

3I4I'     Wine-bottle,  oviform.     D.  4I  in.     Japanese  yellow  clay  and  glaze.     Rough  sketch 
of  figures  in  white,  bright  blue,  and  purplish  brown.  1850 

3142.     Bowl,  delicately  turned.     D.  3I  in.     Light  grayish  clay  and  glaze.  1850 

Type  Ninagawa.     Unpublished  plate. 

3143  •    Wine-cup.     D.  2J  in.     Himuro  Awata  Rioundo  set  {wi\X\&Xi).  i860 

3144,  3145'    Wine-bottle  and  covered  bowl.  i860 

AWATA    GUCHI   (Case  27) 

This  pottery  was  first  made  in  the  seventeenth  century,  a  little  later  than  the  first 
Awata.     Early  pieces  resemble  the  transparent  glazed  pottery  of  Fukakusa. 

3I46-     Bowl.     D.  4f  in.     Japanese  yellow  clay  and  glaze.     The  seven  jewels  in 
blue  and  brown.     Basal  ring  notched.     Awafa  Gucki  (imp.).  1750      v-->. 

An  exceedingly  rare  mark.  3146 

RAKUTO    (Case  28) 

Allusions  are  made  to  the  mark  Rakuto,  in  Ninagawa's  classical  work  and  in  other 
books  on  the  subject,  as  occurring  on  early  pieces  of  Awata.  The  mark  has  been 
ascribed  to  Ninsei ;  but,  though  near  the  time  of  Ninsei,  it  was  used  by  another  potter 
who  baked  in  Awata,  and  who  used  the  characters  Rakuto.  Whether  the  signature 
was  used  by  Ninsei  or  his  contemporaries  has  not  been  definitely  ascertained.  The 
mark  is  extremely  rare,  and  the  Museum  is  greatly  indebted  to  Mrs.  Henrietta  Page 
for  the  single  specimen  in  the  collection. 

3147*  Flower-pot,  rectangular.  L.  9J  in.  Japanese  yellow  clay  and  glaze.  Wide 
border  of  zigzag  lines  in  green  and  blue  enamel.  Rich  decoration  of  pine  in  green  and 
blue  enamels  and  gold.     Raiuio  (imp.).  1660     ^,  _ 

Gift  of  Mrs.  Henrietta  Page. 


226  THE   CATALOGUE 

IWAKURAYAMA  (Case  27  and  Plate  XX.  3148) 

The  first  maker  of  this  pottery  was  an  apprentice  of  Ninsei,  and  the  work  dates 
back  over  two  hundred  years.  After  this  a  potter  named  Kinkozan  made  a  new  kind 
of  pottery,  using  the  mark  Iwakurayama.  Iwakura  is  about  four  miles  northeast  of 
Kyoto.  In  the  middle  of  the  eighteenth  century  the  pottery  was  moved  to  Awata  dis- 
trict, since  which  time  the  most  delicate  of  Awata  pottery  has  been  made  bearing  the 
impressed  mark  Iwakurayama. 

3148.     Cake-bowl.      D.  4I  in.      Rim  with  five  deep  scallops.  Light  gray  clay  and  glaze. 

Outside,  brown  circles  enclosing  flowers  in  light  blue.     Inside,  formal  design  of  petals  in 

brown  and  blue  corresponding  to  scalloped  rim.  1675 
Type  Ninagawa.     Part  V.,  Fig.  i. 

314Q*     Bowl,  elongate  oval.    D.  t,\  in.    Gray-drab  clay,  yellowish-gray  glaze,  basket  design 
in  brown.     Iwakura  (imp.).  1700 

3150.  Incense-burner.  D.  2|  in.  Yellowish-white  clay  and  glaze. 
Band  of  diaper  in  black,  touched  with  gold.  Inturned  rim  with  design  in 
light  green  enamel,  touched  with  gold.     Iwakura  (imp.).  1700       3149 

315^"     Fire -VESSEL.     D.  4J  in.      Fine  fawn  clay,  very  light  fawn  glaze  clouded, 
decoration  of  chrysanthemums  in  blue  and  green.     Iwakurayama  (imp.).  1750 

3152'     Tea-bowl.    D.  4f  in.    Fawn  clay,  grayish-fawn  glaze.     Straw  and  pine  deco-       ^j^^ 
ration  in  brown.     Iwakurayama  Ippo  (imp.).  1800     jO 

3^53-     WiNE-BOTTLE,  slender  gourd-shaped.     H.  7I  in.     Light  gray  clay  and  glaze.       ^ 
Vine  in  brown  and  blue.     Iwakurayama  (imp.).  1825 

3154-  Beaker.  D.  \\  in.  Fawn  clay,  Japanese  yellow  glaze.  Blossoms  /fev  "^T* 
in  white  slip,  tinted  with  green,  brown,  and  gold.  Maple  leaves  in  many  Qifl  ^^ 
colors  inside  and  out.     huakurayama  (imp.).  1825       3154         3152 

Type  Ninagawa.     Part  V.,  Fig.  2. 

3155-  Plate.      D.  6J  in.     Awata  clay  and  glaze,  strongly  crackled.      Equisetum  in  brown. 
Iwakurayama  (imp.).  1825 

315""     JaJ*)  swelling  sides.    H.  4^  in.    Fine  light  reddish-fawn  clay,  dark  drab  glaze,  strongly 
crackled.     Encircling  lines,  stars,  circles,  etc.,  impressed  in  white  Mishima  around 
upper  portion.     Iwakurayama  (imp.).  1830       j^ 

3157-  Bowl.  D.  3I  in.  Fawn  clay,  dead  brown  surface,  scrolls  in  blue,  green,  and  ^^ 
straw  enamels  outlined  in  yellowish-white.     Inside,  yellowish-white  glaze.  Qj 

Iwakurayama  (imp.).  1840       3157 

HOZAN   (Case  27  and  Plate  XX.  3176) 

Ninagawa  in  manuscript  says  that  the  founder  of  this  family  was  Bunzo,  and  that 
he  came  from  Omi  in  the  middle  of  the  seventeenth  century.  At  various  times  the 
family  have  used  the  marks  Akashi,  Asahimine,  and  Taihei  Hosan.  The  family  have 
also  imitated  Ninsei,  Iwakurayama,  Gobosatsu,  and  Awata,  using  these  various  marks. 
According  to  the  same  authority  the  eleventh  generation  was  living  in  1880.  Pottery 
bearing  the  marks  Taihei  and  Taihei  Hozan  would  never  be  recognized  as  Awata 


PROVINCE    OF   YAMASHIRO 


227 


Hozan.  Asahimine  is  even  more  unlike.  The  above-mentioned  kinds  vary  greatly  in 
their  age,  and  it  is  possible  that  some  of  the  Bunzo  generations  made  pottery  on  their 
own  account.  Until  further  information  is  obtained  Taihei  Hozan  will  be  considered 
under  Hozan,  while  Asahimine  will  be  separated.  Pottery  bearing  the  mark  of  Hozan 
exceeds  all  other  Awata  pottery  in  originality,  diversity,  and  beauty.  It  is  said  that 
the  family  originated  the  curious  arabesque  pattern  in  thick'  enamels  of  blue  with 
ground  colors  of  white  and  yellow  on  an  unglazed  surface.  In  pottery  signed  Tsujii 
Haritna,  however,  this  kind  of  decoration  was  anticipated  by  a  hundred  years.  If 
Hozan  revived  the  art  it  was  promptly  imitated  by  all  the  Awata  potters. 

3158.     WiNE-BOTTLE,  Canteen  form.     H.  5J  in.      Two  looped  handles.      Dark  drab  clay, 
greenish-fawn  glaze.     Design  of  figure,  trees,  etc.,  moulded  in  high  relief  on  each  side. 
Hozan  (imp.).  1700 

3^59-     Bowl.     D.  3!  in.      Light  Japanese  yellow  clay,  grayish- 
yellow  glaze.    Running  brook  and  irises  in  gold.    I/ozan  (imp.).  1720 

3160.  Cake-dish.     D.  7J  in.     Coarse  gray-drab  clay,  thin  trans- 
parent glaze.     Inside,  two  children  in  white  and  brown. 
Hozan  (imp.).  1780 

3161.  Wine-bottle  (cat).  H.  6J  in.  Fawn  clay,  thick  yellowish-white  glaze,  clouded 
with  rich  brown  stains.     Hozan  (imp.).  1780 

3162.  Pot  for  sake,  with  bail.  H.  6|  in.  Fine  fawn  clay,  light  fawn  glaze,  coarsely 
crackled.     Bamboo  and  plum  in  brown,  white,  and  blue.  1800 

Gift  of  Mrs.  E.  F.  Fenollosa. 

3163-3175 

Hozan. 

3176.  Cake-dish.  D.  4J  in.  Japanese 
yellow  clay  with  buff  stain,  elaborate  scroll 
in  dark  blue  enamel.  Inside,  Awata  glaze. 
Hozan  (imp.).  1850 

Type  Ninagawa.     Part  IV.,  Fig.  20. 


Various  forms,  illustrating  the  versatility  of  the  family,  bearing  the  mark 
1800-1850 


3176 


H.  8f  in.    Identical  with  last  in  clay  and  deco- 

1850 


3177*     Flower-vase,  with  elephant  handles 
ration.    Unsigned. 

Gift  of  W.  S.  Bigelow. 

3178.     WiNE-BOTTLE.     H.  6J  in.     Body  octagonal,  neck  square.     Yellowish-white  clay  and 

glaze,  with  splash  of  olive-green  overglaze.     Rude  designs  in  brown  and  blue. 

Hozan  tsukuru  (imp.).  i860 

3x80.     Netsuke,  in  form  of  Daruma,  carved  by  hand.      H.  if  in.     Gray-drab  clay,  light 
grayish-yellow  glaze.     Taihei  (imp.).  1800 

3X8x.     Tea-pot.      D.  2\  in.     Thin  walls,  light  brown  clay,  ^^  /g| 

unglazed.     Wavy  lines  incised.     Hozan  and  Taihei  (imp.). 

1800 
3x82.     Tea-pot.     D.  2\  in.     Light  brown  clay  unglazed.  "  \g;/ 

Hozan  and  Taihei  (imp.).     Last  three  in  Case  34.  1800         3180  3181 


228 


THE   CATALOGUE 


GOBOSATSU   (Mizoro)  (Case  27) 

This  pottery  was  first  made  near  Mizoro  pond.  The  clay  and  glaze  are  similar  to 
Awata,  but  the  clay  is  heavier  and  the  glaze  more  coarsely  crackled.  In  the  latter  half 
of  the  seventeenth  century  the  oven  was  moved  to  Awata,  and  the  mark  Gobosatsu  was 
used.  It  is  said  that  the  oven  was  established  by  Gensuke,  a  pupil  of  Ninsei.  Later 
pieces  bearing  the  mark  Gobosatsu  are  said  to  have  been  made  by  Hozan.  Old  pieces 
are  very  rare. 

3183.  Bowl.  D.  4^^^  in.  Rather  thick  and  heavy.  Light  gray-drab  clay,  yellowish-white 
glaze,  straw  and  pine  decoration  in  brown  and  gray.  1680 

3184'  Deep  bowl,  sides  flattened.  D.  4J  in.  Light  brown  clay,  grayish-white  glaze.  Pine 
in  blue  and  green  enamels,  bamboo  teaspoon  in  blue  enamel,  and  tea-stirrer  in  greenish-gray. 
Gobosatsu  (imp.).  1680 

A  remarkable  specimen.  t* 

3185.     Cake-dish,  sides  flattened  and  scalloped.  "^ 

D.  5  in.    Perforations  in  form  of  petals.    Light  fawn  p^ 

clay,  grayish-yellow  glaze.    Inside  pine  in  brown  and 

gray.     Gobosatsu  (imp.).  1680  V^l  3i88 

3186-3195.  Scalloped  cake-dishes,  bowls,  etc.,  ranging  from  1700  to  1840,  with  mark  of 
Gobosatsu  (imp.),  with  the  exception  of  3194,  which  is  Mizoro  yaki  and  kakihan  (written). 


3190 


3191 


3193 


3196*.     Bowl.     D.  4  in. 

Gourd  and  vine  in  brown. 

Gift  of  John  Green. 


Fawn  clay,  grayish-fawn  glaze. 
Gobosatsu  (imp.).  1840 


3196 


TAIZAN    (Case  27) 

The  first  generation  of  this  famous  family  was  one 
Takahashi  Tokuro,  who  came  from  Omi,  and  built  an  oven  in 
Awata  in  1673.  The  second  generation  was  known  as  Yohei, 
and  this  family  name  remained  in  all  the  subsequent  genera- 
tions. Yohei's  work  consisted  of  tea-utensils  only ;  the  third 
generation  made  tea  and  wine  utensils ;  the  fourth  generation 
(1789-92)  first  used  dark  blue  glaze  ;  the  fifth  generation  (1804- 
18 17)  made  blue  pottery  vases  for  the  Imperial  household;  the 
sixth  generation  (1830-38)  introduced  a  regular  style  of  paint- 
ing for  decoration.  He  was  a  friend  of  the  famous  artists  of  that  time,  among  whom 
were  Keibun  and  Toyohiko.  The  work  Tdki  Shoski,  from  which  the  above  information 
has  been  derived,  also  mentions  the  seventh,  eighth,  and  ninth  generations.  Ninagawa 
says  that  the  mark  Taizan  was  first  used  in  1 760.  A  variety  of  marks  are  seen  on 
the  pottery,  but  it  has  been  impossible  to  subdivide  them  according  to  different  fami 
lies.     The  pottery  shows  great  refinement  and  skill. 


3194 


PROVINCE   OF  YAMASHIRO 


229 


3197-     Handled  wine-bottle.     H.  6J  in.     Thick  and  heavy.    Light  brown  clay,  deep  pur- 
plish-blue glaze,  mottled.     Taizan  (imp.).  1800 

3193*  Drum-shaped  object.  H.  3J  in.  Light  fawn  clay  and 
glaze.  Imperial  crest,  pine  and  maple  leaves  in  brown  and  light 
blue.     Taizan  (imp.).  1840 

3199.  Wine-bottle  for  offering.  H.  5f  in.  Light  grayish- 
drab  clay  unglazed.     Taizan  (imp.).  1840 

3200.  Bowl.     D.  3I  in.    Light  grayish-drab  clay.    Scrolls  in  green,  deep  blue,  and  yellow- 
ish enamels  on  unglazed  surface.     Inside,  yellowish-white  glaze. 
Taizan  (imp.).  1850       "M^      ^        ^ms 

3201    3204    3206 


3200 


3201-3206.     Wine-bottles,  bowls,  etc.,  all  signed  with   the  im- 
pressed mark  Taizan.  1850-1860 


KINKOZAN    (Case  27) 

The  family  of  which  the  modern  Kinkozan  is  a  representative  began  work  in 
Iwakurayama,  and  afterwards  moved  to  Awata,  and  for  the  first  time  used  the  signa- 
ture Kinkozan.  Another  account  says  that  the  first  generation  was  represented  by 
Kobayashi  Tokuyemon,  who  worked  in  Awata  in  1646.  The  early  work  departed  from 
typical  Awata  models,  and  a  variety  of  forms,  glazes,  and  decorations  were  made.  The 
small  bowls  and  jars  with  rich  dark  brown  overglaze,  and  the  light  brown  glazes  with 
light  decoration  were  particularly  rich,  and  these  were  among  the  chef-d'oeuvres  of  the 
family  seventy  years  ago.  In  1877,  or  thereabouts,  the  representative  of  the  family, 
Sobei  Kinkozan,  with  a  large  staff  of  crude  potters  and  decorators,  flooded  the  foreign 
market  with  profusely  decorated  Awata,  signed  with  the  painted  mark  Kinkozan  in  red. 

3207.  Fire-vessel.     H.  3f  in.     Light  gray-drab  clay,  white  glaze.     Bamboo  grove  in  blue. 
Characters   in   brown.     Kinkozan   (imp.).     Decoration   and   poem 
signed  Kenzan.  1780 

Type  Ninagawa.     Part  IV.,  Fig.  21. 

3208.  Fire-vessel.  H.  4^  in.  Gray-drab  clay,  yellowish-white 
glaze.  Over-decoration  of  formal  scrolls  and  flowers  in  blue  and 
red.     Kinkozan  (imp.).  1780 

3209.  Bowl.     D.  4  in.    Fawn  clay,  light  grayish  glaze. 
Pine  in  black  and  blue.     Kinkozan  (imp.).  1800 

3210.  Tea-pot.    D.  6^  in.   White  clay,  yellowish-white 

glaze,  over-decorations  of  scrolls,  flowers,  diaper,  etc.,        3209  3207 

in  red.     Kinkozan  (imp.).  1800 

3211.  Bowl.  D.  4J  in.  Fawn  clay,  dark  drab  underglaze,  large  area  of  yellowish- white 
overglaze  upon  which  are  waves  and  grass  in  blue  and  brown.  Inside,  yellowish-white  glaze 
coarsely  crackled.     Kinkozan  (imp.).  1820 

Type  Ninagawa.     Part  VII.,  Fig.  i8- 

3212.  Shallow  bowl.     D.    5I   in.     Drab  clay,  purplish-black  underglaze,    dull 
light  brown  overglaze.     Kinkozan  (imp.).  1820       3212 


/«C 


230  THE   CATALOGUE 

3213.  Bowl.     D.  4^  in.     Whitish-yellow  clay  and  glaze,  lustrous  deep  chestnut-brown 
overglaze.     Unsigned.  1820 

Type  Ninagawa.     Part  VII.,  Fig.  17. 

3214.  Jar.     H.  6i  in.     Four  looped  handles.     Clay  and  glaze  similar  to  last.  1820 
3215-3222.     Cake -DISH,    bowls,   wine-bottle, 


All  the  above  are  signed  Kinkozan.  ^m        "^P        {^\         ™ 

3223.*   Hanging  kan-holder.    Su^a  Sobei  (imp.).      »Jj        ^&        ^  UJ 

This  is  one  of  the  Kinkozan  generations.  3216         3219         3221        3222        3223 

GlOZAN  (Case  27) 

Pottery  strongly  resembling  Awata  is  said  to  have  been  made  in  Fukakusa  in  the 
early  part  of  this  century. 

3224.  Bowl.     D.  3J  in.     Light  brown  clay.     Elaborate  scrolls  and  formal  flowers  in  green 
and  yellowish  enamel  with  yellowish-white  outlines.     Inside,  Japanese  yellow  glaze. 
Giozan  (imp.).  1820 

3225.  Fire-vessel.     H.  3J  in.     Light  fawn  clay.     Elaborate  scrolls  in  deep  blue,  light 
green,  and  yellowish  enamels,  with  flowers  outlined  in  yellowish-white. 

Giozan  (imp.).  1820  g^ 

3220.     Bowl.     D.  4I  in.     Japanese  yellow  clay,  light  grayish-yellow  glaze.  Pine  rfj 

and  straw  decoration  in  blue  and  green  enamel  touched  with  red  and  gold.  3226 

Giozan  (imp.).  1830 

3227.  Bowl.      D.  4  in.      Fawn  clay,  olive-grayish  underglaze,  yellowish-white  overglaze, 
running  in  long  oblique  streams  with  splashes  of  green.    Inside,  yellowish-white 

glaze  strongly  crackled.     High  basal  ring.     Giozan  (imp.).  1840 

3228.  Bowl.     D.  4^  in.     Gray-drab  clay,  rich  brown  glaze  strongly  mottled. 
Giozan  and  Kinji  (imp.).  1850 

3229.  Tea-pot.  D.  2f  in.  Moulded.  Light  brown  clay  un-  ^ 
glazed.  Bamboo  and  inscription,  vigorously  incised.  P* 
Giozan  tsukuru  (inc.).                                                            1850 

BIZAN    (Case  27  and  Plate  XX.  3232) 

Bizan  was  born  in  Kanazawa,  Kaga,  and  was  the  son  of  a  wealthy  rice  merchant. 
He  showed  great  fondness  for  Utai,  a  certain  school  of  music.  He  was  also  fond  of 
painting,  and,  coming  to  Kyoto,  became  the  pupil  of  Teibio,  a  Kyoto  artist,  and  studied 
the  art  of  painting  No  figures.  He  began  decorating  Awata  tea-pots,  and  finally 
learned  the  art  of  pottery-making.  His  figures  of  No  were  considered  very  accurate. 
He  died  in  1862  at  the  age  of  fifty-eight.  This  record  was  given  to  Mr.  Bunki5 
Matsuki  by  Heijiro  Takeda,  the  only  apprentice  of  Bizan.  Takeda,  whose  pseudonym 
is  Tojiyoku,  is  now  sixty-two  years  old,  and  is  working  at  Kinkozan's  oven.  There 
was  a  successor  to  Bizan,  but  his  work  is  not  specially  recognized. 

3230.  Jar,  bell-shaped.     H.   sJ  in.     Gray-drab   clay,  light   grayish-drab   glaze.     Circles, 
lines,  etc.,  and  characters  in  olive-brown.     At  base,  band  of  brown  glaze.     Bizan  (imp.). 

,  Unique  form.  1850 


PROVINCE   OF  YAMASHIRO  231 

3231.     Shallow  covered  vessel.     D.  6f  in.     Japanese  yellow  clay  and  glaze.    No  players 
in  various  colored  enamels,  touched  with  gold.     Bizan  (imp.).  1850        ».• 


^   I 


3232—3234-    Wine-bottles,  wine-cups  and  rest,  etc.,  all  signed.  1850 

3231      3233 
TANZAN   (Case  27  and  Plate  XX.  3236) 

Kishimoto,  a  native  of  Tango,  learned  the  potter's  art  in  Settsu  and  afterwards 
studied  in  Tamba.  In  1846  he  came  to  Awata  district  in  Kyoto  and  made  pottery 
after  Kiyomizu  models.  In  1849  he  began  the  making  of  typical  Awata  pottery, 
and  in  1869  assumed  the  name  of  Tanzan.  In  1872  he  secured  a  decorator  of  some 
skill  and  entered  into  competition  with  other  Awata  potters  in  making  pieces  with 
showy  decoration  for  the  foreign  market.  (The  work  Toki  Shoshi  mentions  two 
generations :  the  first,  Tanzan  Seikai,  and  the  second,  Tanzan  Rokuzo.)  The  early 
pieces  bearing  the  mark  Tanzan  are  the  best,  and  are  very  rare. 

3236.    Wine-bottle.     H.  6  in.     Body  polygonal,  neck  square.     Brown  clay,  white  glaze 
pitted.     Flowers  in  dark  blue.     Tanzati  (written).  1870 

3237*     Cup.     T).  2%  in.     Dark  drab   clay  and  glaze,  splash   of 
yellowish-white  overglaze  with  maple  leaves  in  red.  1870 

Tanzan  (written). 

This  piece  has  been  made  from  a  flat  piece  of  clay 
folded  and  pinched  together.     Basal  ring  applied. 

3238.     Leaf-shaped  dish.     L.  6\  in.     Light  gray-drab  ^  , 

clay,  with  thin  opaque  brown  glaze.     Under  side,  scrolls 

in  white  slip  and  blue  enamel.     Inside,  chrysanthemums  and  scrolls  in  green,  yellow,  and 

light  purple  enamels,  outlined  in  white  slip.     Tanzan  (imp.).  1870 

RAKUTOZAN   (Case  27) 

Rakut5zan  is  a  poetic  name  for  the  eastern  part  of  Kyoto.  Higashiyama  is  the 
Japanese  equivalent.  Whether  this  name  is  the  pseudonym  of  some  potter,  or 
whether  various  potters  signed  their  work  with  this  poetic  name  has  not  been  ascer- 
tained. Certainly  the  pieces  vary  greatly  in  their  quality  and  character.  Until  further 
information  is  obtained,  pieces  bearing  this  mark  will  be  considered  under  the  above 
title.     The  pottery  has  no  relation  to  the  piece  already  catalogued  under  Rakuto. 

3239*     Sake-pot.     D.  s|  in.     Gray-drab  clay,  dead  dark  purplish-brown  surface.     Garden, 
mounds,  and  lantern  in  white  slip,  glazed  with  blue,  green,  and  ochre.     Rakutozan  (imp.). 

180a 

3240.  Wine-bottle.  H.  6J  in.  Light  gray-fawn  clay,  lustrous  yellow- 
ish-white glaze.     Landscape  and  tree  in  light  blue.     Rakutozan  (imp.). 

1800        fJS^       I  ■ 

3241.  Flower-vase,  elephant  handles.  H.  8f  in.  Fawn  clay,  dull 
dark  surface.  Scrolls,  clouds,  dragon,  etc.,  in  dark  blue,  green  and  straw 
enamel  and  white.     Rakutozan  (imp.).  1800         3240  3241 


232 


THE   CATALOGUE 


3242.     Flower-vase,  gourd-shaped,  two  knobs  on  shoulder.     H.  6f  in.     Gray-drab  clay, 

very  roughened  surface  ;  dark  brown  glaze  with  splash  of  light  blue  overglaze  running 

in  thick  drops.     Rakutozan  (imp.).  1800      }'f 

YOZAN    (Case  27) 

A  bowl  and  a  cup,  evidently  Awata,  bearing  in  the  one  case  an  impressed, 
and  in  the  other  a  written  mark  of  Yuzan,  have  been  made  within  thirty  years.     No 
information  is  at  hand  as  to  the  potter  or  oven. 

3243-  Bowl.     D.  4^  in.     Gray  clay,  light  gray  glaze.     Cats  playing  battledoor  and  shuttle- 
cock in  olive-brown  touched  with  red,  green,  and  gold.      Yuzan  (written  in  blue).  i860 

3244-  Tea-cup.    D.  2J  in.    Fine  Japanese  yellow  clay,  yellowish-white  glaze.    Plum-tree  in 
bluish-black  with  bright  green  leaves,  blossoms  in  white  slip  touched  with  red  and 


gold.     Yuzan  (written  in  red). 


i860 


KOZAN   (Case  27) 

A  piece,  evidently  Awata,  bears  the  impressed  mark  Kazan. 
about  the  potter. 

3245.     Shallow  bowl.     D.  6J  in.     Japanese  yellow  clay  and  glaze, 
crane,  pine,  etc.,  in  brown  and  blue.    Kazan  (imp.). 


Nothing  is  known 

Inside,  turtle, 
1820 


TOKUBEI 

A  flower-holder  in  form  of  tree  trunk  modeled  by  hand  has  the  incised  mark 
Awata  Guchi  Tokubei,  etc.     It  is  without  merit. 

3246*.     Flower-holder.    H.  4^  in.    Tree  trunk,  flowers,  and  leaves  in  high  relief  modeled 
by  hand.    Soft  buff  clay,  dark  surface  unglazed.    Flower  white  glaze,  leaves 
green  glaze.  Awata  Guchi  Tokubei  tsukuru.  Kayeiju  kiki  San-gatsu  (inc.). 

1853 
SADA   (Case  28) 

A  globular  bottle  with  fawn  glaze  and  bright  decoration  bears  the 
mark  of  Sada  in  a  fan-shaped  panel.  It  has  an  age  of  one  hundred 
years  or  more. 

3247.  Wine  -  BOTTLE,  globular.  H.  4  J  in.  Drab  clay, 
fawn  glaze.  Flowers  and  leaves,  band  of  diaper,  etc.,  in 
green,  blue,  and  purple  enamels,  with  seal-brown,  red,  and 
gold.     Sada  (imp.).  1800 

KIYOMIZU 

This  is  a  general  name  for  pottery  made  in  Kiyomizu  district,  Kyoto.  Some  of  the 
pottery  bears  the  definite  mark  Kiyomizu,  other  pieces  have  the  single  character  Kiyo, 
and  many  others  are  unsigned.  So  far  as  possible  the  Japanese  dictum  has  been 
followed,  and  all  pieces  identified  as  Kiyomizu,  unless  otherwise  assigned,  are  here 


3247 


PROVINCE   OF  YAMASHIRO  233 

catalogued  together.  Some  of  these  may  possibly  have  been  made  by  well-knovra 
Kiyomizu  potters  who  left  their  pieces  unsigned,  others  are  by  obscure  potters  of 
whom  there  are  no  records  available. 

3248  (Case  31).  WiNE-HOLDER,  six-sided.  H.  8  in.  Ears  for  bail.  Fine  fawn  clay,  rich 
white  glaze,  strongly  crackled.  Conventional  design  of  clouds,  mountain,  figures,  pine,  etc., 
in  rich,  dark,  and  light  blue.  1600 

3249.  Wine-bottle,  square,  with  pottery  stopper.  H.  loj  in.  Fawn  clay,  thick  white 
glaze  deeply  stained.  Landscape,  figures,  poems,  etc.,  in  blue.  On  shoulder,  scrolls  in  green 
with  blue  interspaces.     Glaze  scaling.  '  1600 

3250  (Case  28).  Bowl.  D.  4I  in.  Brownish  clay,  showing  nearly  black  surface,  light 
gray  glaze.     Dim  sketch  of  landscape  in  pale  blue.    Kiyomizu  (imp.).     1600 

3251.  Beaker,  lower  part  cut  in  hexagon.  D.  4:^  in.  Gray-drab  clay,  dull 
underglaze,  clear  white  overglaze.  Rough  sketch  of  flowers  and  band  of  zig- 
zag lines  in  blue.     Kiyomizu  (imp.).  1600 

3252  (Case  31).    Wine-bottle,  square.     H.  gj  in.     Fine  fawn  clay,  light     3250       3251 
fawn  glaze  clouded  by  stains.     Landscape  in  clear  light  blue.  1620 

Known  as  Amamori,  which  means  rain  stain,  as  seen  on  their  paper  screens. 

3253  (Case  28).  Oval  bowl.  D.  6  in.  Rim  brown,  finely  scalloped.  Fawn  clay,  light 
gray  glaze  with  pinkish  area.     Basket  decoration  in  gray  and  blue. 

Kiyomizu  (imp.).  1650 

3254.  Clove-boiler,  gourd-shaped  handles.  H.  9  in.  Fawn  clay,  light  grayish- 
fawn  glaze  with  shades  of  pink.  Vigorous  decoration  of  leaves  and  fruit  of  biwa  in 
brown,  white,  and  light  blue.  1650 

Gift  of  W.  S.  Bigelow.  3^53 

A  superb  example. 

3255*     Covered  jar.     H.  5  J  in.     Fine  hard-fawn  clay,  light  fawn  glaze,  strongly  crackled. 

Under  decoration  of  obscure  landscape  in  bluish-black. 

Gioji  [or  Jioji\  (imp.).  1750 

3256.  Oviform  bottle,  constriction  in  middle.  H.  lo^  in.  Fine 
hard  fawn  clay,  fawn  glaze,  coarsely  crackled.  Obscure  under- 
decoration  in  bluish-black.     Z?  zV;4/ (imp.).  1750 

3257-    Incense-stick  burner.     H.  iJ  in.    Light  fawn  clay,  light 
Japanese  yellow  glaze,  flowers  in  blue  and  green  enamels,  and  red,  black,  and  gold. 
Type  Ninagawa.     Part  IV.,  Fig.  22. 

3258.  Leaf-shaped  dish.     D.  5I  in.     Moulded.     White  clay  and  glaze,  coarsely  crackled. 

1670' 

3259.  Bottle,  with  long  neck  and  nozzle.  H.  174  in.  Fawn  clay,  whife  glaze  with  rough 
decoration  of  chrysanthemums,  scrolls,  etc.,  in  blue.  1680 

3260.  3261.     Bowl  and  incense-stick  burner.  1700 

3262  (Case  31).  Wine-holder,  cylindrical.  H.  6f  in.  Ears  for  bail.  Fine  fawn  clay, 
light  fawn  glaze.  Overglaze  decoration  of  flowers  and  scrolls  in  green  and  blue  enamels  and 
black,  red,  and  gold.  1700 


1^ 


234  THE   CATALOGUE 

3263.  Wine-holder,  cylindrical.    H.  7J  in.     Light  fawn  clay  and  glaze.     Iris  in  light  blue 
and  green  enamel,  and  red  and  blue.  1700 

3264.  Wine-holder,  cylindrical.     H.  4^  in.     Ears  for  bail.     Fine  fawn  clay  with  reddish 
tinge,  light  warm  fawn  glaze.     Over-decoration  of  white  chrysanthemums  with  blue 

centre  and  brownish-black  leaves.     Kiyo  (imp.).  1700 

3265.  Wine-bottle,  square.      H.  8f  in.      Fine  fawn  clay,  light  fawn  glaze  with 
clouded  stains.     Above,  rich  green  overglaze  running  in  long  streams.  1720 

Known  as  Amamori. 

3266-3274-    Various  pieces  of  Kiyomizu.  1730-1780 

3275  (Case  28).  Wine- BOTTLE,  double  gourd-shaped.  H.  5J  in.  Fawn 
clay,  grayish-white  glaze  coarsely  crackled,  deeply  stained.  Vigorous  decora- 
tion of  leaves,  bamboo  and  pine  in  dark  blue  and  green  enamel.  Kakihan  on 
bottom  in  blue  enamel.  1780 

3276-3282.    Various  pieces  of  Kiyomizu.  i  780-1820      ^^^^       ''^''^ 

3283-3291.    Various  pieces  of  Kiyomizu.  1820-1850 

3292-3301    (Case  34).     Various  pieces  of  Kiyomizu.  1850-1870 

No.  3292  has  the  mark  Bai  so  yen  set  (written). 

KANZAN   (Case  28)  ■ 

Denshichi  Kanzan,  a  native  of  Owari,  began  the  baking  of  pottery  in  Kiyomizu  in 
1805.  In  1872  successors  of  the  family  made  quantities  of  highly  decorated  pottery 
for  the  foreign  market,  and  this  is  commonly  seen  in  collections  as  Kanzan.  The  work 
of  Kanzan,  before  being  degraded  by  competing  for  the  foreign  trade,  was  in  good  taste, 
though  e.xamples  are  exceedingly  rare. 

The  collection  is  indebted  to  Mr.  Y.  Yamanaka  of  Osaka,  Japan,  for  an  example  of 
the  early  work  of  Kanzan. 


e 


^^ 


3302.     Jar,  with  cover.    H.  3^  in.    Hard  white  porcelain  clay  and  glaze.    On 

upper  half  jewels  and  clouds,  on  lower  half  various  diapers  in  oblique  panels  in  ^^  vKi 

rich  blue.     Lower  half  flattened,  polygonal.     Rakuto  ko  Kanzan  tsukuru  (writ-  ^  "^ 

ten  in  blue).                                                                                                    1820  4^f  ^L 


3302 


KOMATSU   (Case  34) 


Over  two  hundred  years  ago  pottery  was  made  in  the  village  of  Komatsu.  Judging 
from  the  single  specimen  in  the  collection  it  followed  early  Kiyomizu  style.  Ninagawa 
in  his  work  mentions  a  pottery  under  the  name  of  Komatsu-dani,  which  probably  refers 
to  the  same  oven. 

3303-     Shallow  bowl.     D.  5I  in.     Hard  fine  gray-drab  clay,  light  reddish  near  ^A'J* 

junction  of  glaze,    light  grayish-fawn   glaze,   coarsely   crackled.      Inside,  under-  "^^ 

decoration  of  landscape  in  greenish-gray.    Komatsu  kichi  (imp.).                        1680  „o- 
Extremely  rare. 


01-"   rwt 
UNiVt.  SI7Y 


) 


CASE    28 


3<joo  311'*  31^1  32.b"'< 

30'i7      3270       ^^J& 


3Z6S-  3Zi-6 

3Z6I        ^^o" 


V'  32%3 


1        3^Lf       311.  ^ife     ^J 


^'fSD^^^" 


3ZS-8 


'joool 


3i-7  3 


"3TT9  3  !"''>_  JZTV  3"! 


SL:^ 


i^ — ji^^ 


tony —      aiit>(a 


3i-6<} 


3ya7       3s'a&       3s&i 


3  6i-'7 


3yso 


3S-7'? 


3&I7 


34-77  3i-76 


3bOI 


3(>U3 


PROVINCE  OF  YAMASHIRO 


PROVINCE   OF  YAMASHIRO  235 

KICHIBEl'(Case  31  and  Plate  XXI.  3305) 

The  collection  contains  two  specimens  signed  Kichibei.  The  accounts  are  very 
conflicting  regarding  the  family.  It  is  stated  by  Ninagawa  that  the  seventh  genera- 
tion of  Kichibei  ended  in  1857.  That  a  Kichibei  was  at  work  in  1705  is  attested  by 
Bampo  Zenshd.  It  is  also  recorded  that  a  letter  was  written  by  the  Tokugawa  to 
Kichibei  in  1752,  ordering  him  to  make  various  objects.    The  mark  is  extremely  rare. 

3304-  Beaker.     D.  45  in.     Lower  portion  cut  polygonally.     Fine  light  fawn  clay,  thick 
white  glaze.     Under-decoration  of  vertical  lines  and  bands  outside,  and  band  of  dots 
and  characters  inside  in  blue.     Kichibei  (imp.).  1760 

3305-  Similar  to  last.    D.  3  in. 

_  3304 

ICHIYU   (Case  31) 

A  pottery  showing  the  marks  of  a  skilful  workman,  and  one  who  strictly  followed 
Kyoto  models,  is  seen  in  the  form  of  bowls.  Ninagawa  in  manuscript  notes  has 
simply  recorded  the  mark  IchiyU,  the  date  1845,  and  the  place  Kyoto. 

330^'     Bowl.      D.  4I  in.     Light  fawn  clay,  smooth  light  gray  glaze.     Over-decoration  of 
Kirimon  in  blue,  green,  black,  and  light  red.   IchiyU,  in  hexagon  (imp.).   1845      y^-..,^^ 

3307-     Bowl.     D.  4J  in.     Light  gray  clay,  mottled  with  light  fawn,  dull      I  rt> J        '^ 
whitish  glaze.     Basal  ring  notched.     IchiyU  (imp.).  1845      ^^^ 

3306  3307 

YEISEN   (Case  28) 

Okuda  Yeisen  was  not  a  professional  potter,  but  through  his  great  love  for  the  art, 
acquired  a  skill  of  throwing  and  decorating  in  a  rude  sort  of  way.  Yeisen's  work  was 
in  imitation  of  foreign  models.  He  made  among  other  pieces  heavy  white  stone  fire- 
vessels  with  rude  overglaze  decoration  in  red  and  green.  Yeisen  had  no  stamp,  but 
signed  his  name  in  red  or  green  on  the  bottom  of  the  piece.  This  potter  was  a  fellow- 
student  with  the  first  Rokubei  under  Yebeiya  Seibei.  Yeisen  was  the  teacher  of 
Mokubei,  Dohachi,  Shuhei,  Kamesuke,  and  Kasuke.  The  work  dates  from  the  latter 
half  of  the  last  century. 

3308.  FiRE-VESSEL.  D.  4j  in.  Very  thick  and  heavy.  Hard  white  clay  and 
glaze,  coarsely  crackled.  Over  -  decoration  of  flowers,  mythological  creatures, 
diaper,  etc.,  in  green  enamels  with  red,  brown,  and  black,  roughly  drawn.  1770 
Yeisen  (written  in  red). 

3309-  FiRE-VESSEL.  D.  4i  in.  Heavy  and  thick.  Hard  light  clay,  greenish- 
white  glaze  without  crackle.  Figures  in  green,  light  blue,  and  yellow  enamel, 
shaded  with  brown.     Unsigned.  1770         -vvA 

KYOTA  (Case  30) 

Okada  Kyuta  was  a  contemporary  of  Mokubei,  and  a  skilful  potter.  His  little 
brown,  unglazed  tea-pots  were  highly  esteemed  by  the  tea-lovers.  Owing  to  their 
fragile  character  but  few  specimens  of  his  work  have  survived.  The  mark  Kytita  is 
impressed  on  the  lower  side  of  the  handle. 


3^6 


THE   CATALOGUE 


3310.    Tea-pot.     D.  3^  in.     Dull  brown  clay.     Unglazed. 


331 1.    Tea-pot,  similar  to  last. 
Kyiita  (imp.). 


3312 


33«3 


Light  gray-drab  clay,  thick  yellowish-white 


Rough  surface.   Kyuta  (imp.). 
1820 

Band  of  scrolls  incised  around  shoulder.  1^1 

1820      \§/ 

33'° 
KASUKE   (Case  31) 

A  Kyoto  potter,  named  Kasuke,  made  pottery  in  the  latter  part  of  the  eighteenth 
century.  He  was  a  contemporary  of  the  first  Rokubei,  and  a  pupil  of  Yeisen.  His 
imitation  of  foreign  models  was  good,  and  would  have  been  deceptive,  had  he  not  signed 
his  pieces.     Specimens  of  his  work  are  rare. 

3312.     Shallow  cake-dish,  with  low  basal  ring.     D.  6|  in.    Fawn  clay  and  glaze.    Inside, 
cranes  and  grass  in  black  and  white.     Strong  right-hand  thread-mark. 
Kasuke  (imp.).  1780 

33^3-  Boat-shaped  dish,  with  handle  and  scalloped  edge.  L.  8  in. 
Light  fawn  clay,  with  elaborate  festoon  of  jewels  in  high  relief,  moulded. 
Outside,  shiny  yellow  glaze  ;  inside,  rich  green  glaze.  1780 

Kasuke  (imp.). 

3314.  Fire-vessel.      H.  3J  in.     Thick  walls, 
glaze.   Rough  over-decoration  of  birds,  iris,  and 
flowers  in  red  and  green. 
Kasuke  (written  in  red).  1780 

3315.  Tea-pot.  D.  4f  in.  Modeled.  Red- 
dish-fawn clay,  unglazed.  On  side,  poem  in 
relief.     Ka,  in  pentagon  and  oval,  impressed. 

1780 

3316.  Oval  platter.    L.  lof  in.  Fine  fawn 
clay.     Elaborate  decoration  inside  and  out  of  horses,  flowers,  spirals,  diaper,  etc.,  in  yellow, 
green,  and  purple  on  white  ground.  Kakushi-tei Kasuke  (yiriit&n  in 
black).  1780 

ROKUBEI   (Case  29  and  Plate  XX.  3324) 

Rokubei  is  the  name  of  a  family  of  famous  Kiyomizu  pot- 
ters whose  founder  was  a  pupil  of  Yeisen.  The  first  Rokubei 
began  in  1737.  The  fourth  generation  of  this  family  is  now 
at  work,  and  like  the  second  and  third  generations  has  adhered 
to  the  typical  Kiyomizu  style  established  by  the  founder  of  the 
family. 

FIRST  GENERATION 

Kiyomizu  Rokubei,  or  Gusai,  acquired  the  potter's  art  of  Yebeiya  Seibei  in  1737. 
Rokubei  first  worked  in  Shigaraki,  Omi,  and  there  learned  the  excellent  quality  of 
Shigaraki  clay,  and  often  used  it  in  his  work  after  settling  in  Kiyomizu.  Such  pieces 
were  usually  signed  with  the  incised  mark  Roku.  His  later  work  bore  the  impressed 
mark  Set,  in  hexagon,  also  Seifn,  in  double-gourd.     In  some  of  his  pieces  the  incised 


^ 


r#? 


3314 


33' S 


PROVINCE   OF   YAMASHIRO 


237 


3319 


3321 


3320 


and  the  impressed  mark  Rokubei  are  seen,  and  rarely  Kiyomizu  Giisai  and  Dai  Michi. 
His  work  was  vigorous  and  tasteful.  He  continued  until  1787,  when  after  an  interval 
of  ten  years  his  son  assumed  the  head  of  the  house. 

33^7"  Plate.  D.  8/^  in.  Coarse  gray-drab  clay,  gray  glaze. 
One  half  of  upper  surface  covered  with  white  overglaze,  upon 
which  are  grasses  in  greenish-brown.     Roku  (inc.).  1740 

3318.  Plate.  D.  gf  in.  Similar  to  last  with  leaves  and  flowers. 
Roku  (inc.).  1740 

33^9-  Incense-box.  D.  3J  in.  Very  light  fawn  clay  and  glaze 
with  pinkish  tinge.  Flying  crane  on  cover  in  white  Mishima 
touched  with  black.     Kiyomizu  (imp.).  1750 

3320.  Haisen  (?)  D.  si  in.  Light  brown  clay,  gray  underglaze,  light  fawn  overglaze 
with  brownish  stains.     Grasses  in  olive-brown. 

Roku  ichi  (imp.).     An  exceedingly  rare  mark.  1750 

3321.  Plate.     D.  8  in.     Thickened  rim.     Dull  brown  clay,  gray  under- 
glaze, rich  mellow  cream  overglaze.     Vigorous  drawing  of  millet 
in  black  and  yellowish-brown.     Ninsei  (imp.).  1740 

This  mark  consists  of  different  characters  from  the  Ninsei 
mark,  and  the  work  has  no  relation  to  that  of  Ninsei.  It  has  all 
the  characters  of  the  early  work  of  the  first  Rokubei,  and  is 
placed  here  provisionally. 

3322-3327.  Tea-pot,  bowls,  incense-boxes,  with  marks  of  Rokubei,  and  Sei  in  hexagon 
impressed.  1750 

3328.  Incense -BOX  (bird).     L.  3  in.     Vigorously  sliced   and 
carved.     Light  gray  clay  and  glaze  shaded  with  brown. 
Sei,  in  hexagon  (imp.).  1750 

Type  Ninagawa.     Part  V.,  Fig.  10. 

3329.  Cake-dish.     D.  6f  in.     Fawn  clay  and  glaze.     Rough 
sketch  of  chrysanthemums  in  olive-gray,     ^^in  hexagon  (imp.). 

3330-     Tea-jar,  looped  handles.     H.  3J  in.     Resembles  Bizen. 

3331.  Tea-bowl.    D.  4I  in. 
Type  Ninagawa.     Part  V., 

3332.  Incense- BOX,  similar  to  3328.  L.  2  in.  Grayish  -  white 
clay,  brown  glaze  with  darker  brown  areas.  Inside,  splash  of 
transparent  glaze,  beneath  which  is  written  in  blue  the  following 
mark  :  Shin  Koshinga,  Ryokwan  ni  cite.    Rokubei  tsukuru  (written). 

1750 
3333-     Water-jar.      H.   6|   in.      Thick   and   heavy,   roughly  turned. 
Sei,  in  hexagon  (imp.).  1760 

3334*     Tea -JAR.     H.   2\  in.     Fine  gray -drab  clay,  rich  brown  glaze 
with  nearly  black  overglaze  running  from  shoulder.      Sei,  in  hexagon 
A  beautiful  example. 

3335"'333°'    Tea-bowl,  water-jars,  and  wine-bottle.     Sei,  in  hexagon  (imp.). 


Roku  (inc.). 
Rough  light  yellowish  clay  and  glaze.    Rokubei  (imp.). 


I 

333' 


1750 
1750 
1750 


3332 


(imp.). 


1760 


1760 


238 


THE   CATALOGUE 


3343 


3347 


3348 


SECOND  GENERATION 

This  potter  began  work  in  1797  at  the  age  of  twenty,  using  the  impressed  mark 
Sei,  in  double  hexagon.  His  work  differed  little  from  that  of  his  father,  though 
lacking  somewhat  in  originality  and  vigor.  He  died  in  1847,  when  his  son  succeeded 
to  his  name. 

3339'  Large  bowl.  D.  io|  in.  Gray-drab  clay,  transparent  underglaze,  gray  overglaze. 
Outside,  encircling  bands,  dots,  and  scrolls  in  brown.  Inside,  figures,  characters,  etc.,  in 
brown.     Seiy  in  double  hexagon  (imp.).  1790 

334^'  Plate,  scalloped  edge.  D.  5^  in.  Fawn  clay,  rich  brown  glaze,  lighter  around 
rim.     Thick  bluish-white  overglaze  running.     Sei,  in  double  hexagon  (imp.).  1790 

334^~3347'  Tea-cups,  tea-bowl,  beaker,  and  other  forms  from  1800  to  1810.  All 
signed  Sei,  in  double  hexagon  (imp.). 

334^*  Shallow  cake-plate,  on  three  looped 
legs.  D.  8^  in.  Gray-drab  clay,  gray  glaze,  brush- 
mark  in  brown  below.  Inside,  roofing  tiles  in- 
cised, tinged  brown.  In  centre,  head  of  tile  with 
Kirimon  decoration,  unglazed.  Sei,  in  double 
hexagon  (imp.).  1810 

3349~335-^'     Beaker,  large  bowl,  and  covered  vessel.     Sei,  in  double  hexagon  (imp.). 

1820 

THIRD   GENERATION 

This  potter  repeated  some  of  the  marks  of  the  first  Rokubei,  in  single  hexagon, 
as  well  as  signing  with  Rokubei,  incised,  and  Sei  Roku  and  Roku  ichi,  impressed. 
His  work,  while  preserving  the  general  spirit  of  the  family,  falls  off  slightly  in  strength. 
He  was  a  charming  old  gentleman,  and  active  in  1882,  but  has  since  died.  To  him 
I  am  indebted  for  the  information  regarding  the  family. 

3352-3357-  BoWLS,  TEA- 
CUPS, beaker,  incense-box, 
etc.,  variously  signed  Roku- 
bei, incised,  Sei  Roku,  im- 
pressed, Sei,  in  hexagon, 
impressed.  1820-1830 

335^-  Compartment  box. 
H.  7  J  in.  Solid  and  roughly 
made.  Light  fawn  clay,  gray- 
ish-white glaze.  Rice  field 
and  geese  in  blue.  Cover, 
plum  blossoms  in  blue.  Sei, 
in  hexagon  (imp.),  33S8a. 
Jin  Roku  saku  (inc.),  33S8b, 
on  cover.  Bunseki  hitsu 
(written),  33580.  1830 


ID 


»>  -• 


3354 


33S8a 


33S8b 


3358c 


PROVINCE   OF   YAMASHIRO 


239 


3359 


3359-    Beaker.     D.  3I  in.    Fine  gray  clay,  rich  brown  glaze  with  light  brown  overglaze 
flecked  with  light  blue.     Sei,  in  hexagon  (imp.).  1830 

33^0.     Globular  water-jar.     H.  6f   in.      Brownish   clay,  transparent   glaze 
mottled  with  fawn.     Rokubei  Qnc).  1840 

3361.  Large  bowl.     D.    5J   in.     Strongly  turned.     Rough   drab   clay,   gray 
underglaze,  white  overglaze  coarsely  crackled.     Characters,  circles,  etc.,  in  olive-brown. 
Rokubei  (inc.).  1840 

A  vigorous  example. 

3362.  Flaring  bowl.     D.   6   in.     Gray-drab   clay,    thick   white  glaze,   strongly  pitted. 
Dragons  and  scrolls  vigorously  drawn  in  olive-brown.     Sei,  in  hexagon  (imp.).  1840 

3363'     Bowl,  same  as  last.     Mark  erased.  1840 

(Figured  in  Harper's  Magazine,  September,  1888.) 
Mistaken  for  Satsuma  by  Ninagawa. 

3364~3383-  Beakers,  cake-dishes,  brazier,  small  plates,  bowls,  etc.,  variously  signed 
Sei  Roku,  impressed  (3365),  Sei,  in  hexagon  (3368),  and  Rokubei,  impressed  and  written 
(3369),  and  Roku  ichi,  impressed 
(3376, 3383).  1840-1870 

3384.  Plate.  D.  10  in.  Coarse 
fawn  clay,  warm  gray  glaze.  In- 
side, over  -  decoration  of  rad- 
ishes in  white  and  blue,  leaves 
in  white,  dark  green,  and  brown. 
A  vigorous  example. 

33"5~339^-     Garden-lantern,  tea-cup,   sake-bottle,   bowls,  etc.,  with 
various  signatures  of  Rokubei.  1870-1880 


y     ^ 


3376 


Rokubei  (inc.). 


3369 


FOURTH  GENERATION 

This  potter  has  succeeded  in  preserving  some  of  the  spirit  of  his 
father,  using  also  similar  marks  as  signatures  to  his  work. 

3392.     Wine-bottle.     H.  6}  in.     Fine  gray-drab  clay,  light  gray  underglaze,  cream-stained 
overglaze.     Hotel  in  brown.     Cloth-mark  below.     Sei  Roku  (imp.).  1888 

3393-  Paper-weight  (crab).     L.  3I  in.     Hard  white  stone  clay,  light  brown  glaze,  with 
back  and  big  claws  in  red,  yellow,  and  white  glaze.     A  strong  example  of  modeling. 

Sei,  in  hfexagon  (imp.).  1888 

3394-  Wine -bottle.     H.  5J  in.     Gray-drab  clay,  warm   gray  glaze.     Pine 
incised  and  splashed  with  dull  green.     Sei,  in  hexagon  (imp.).  1888 

3395-  Tea-cup.     D.  2J  in.     Strongly  turned,  coarse  brown  clay,  thick  olive- 
green  glaze  clouded  with  brown.      Yeishin  (imp.).  1890  3395 

SHICHIBEI   (Case  29  and  Plate  XX.  3401) 

Pottery  bearing  the  impressed  mark  Sei,  in  double   heptagon,  was   made  by  a 
nephew  of  the  second  Rokubei.     It  dates  from  1840.     The  work  is  t)rpical  Kiyomizu, 


3399 


240  THE  CATALOGUE 

and  without  the  mark  might  be  mistaken  for  Rokubei.  It  is  vigorous  in  character,  and 
the  wine-bottles  are  especially  good. 

3396.  Rectangular  dish.  L.  \o\  in.  Thick  and  heavy.  Coarse  brown  clay,  thick 
white  glaze  coarsely  crackled  and  pitted.  Rough  sketch  of  rabbits,  leaves,  etc.,  in  black. 
Sei,  in  double  heptagon  (imp.).  1840 

3397'  Cake-bowl,  sides  flattened.  D.  6^  in. 
Coarse  brown  clay,  greenish-gray  glaze.  Chrys- 
andiemums  in  white  slip  touched  with  blue, 
leaves  brown.  Imitation  of  Kenzan,  with 
mark  of  Kenzan  painted. 
Sei  in  double  heptagon  (imp.).  1840 

3398.    Oblong  dish.    D.  <^\%  in.    Dark  drab 

clay,   white   glaze,   splashes    of    purple    and 

greenish  overglaze.     Cross-lines,  flowers,  etc.,  33^6  3353 

in  brown.     Shichibei  (inc.).  1840 

3399-  Wine-bottle,  sides  polygonal.  H.  6  in.  White  stone  clay,  yellow  glaze.  Plum 
branch  and  flowers  in  white  slip  in  high  relief.  Shichibei  tsukuru,  written  in  blue  on  white 
panel.  1840 

3400-  Wine  -  bottle,  polygonal.  H.  6  in.  Gray-drab  clay,  thick  white  lustrous  glaze. 
Flowers,  birds,  scrolls,  etc.,  in  blue.     Sei,  in  double  heptagon  (imp.).  1840 

3401-  Wine-bottle.     H.  6|  in.     Gray-drab  clay,  thick  white  glaze.     Decoration 
similar  to  last.     Sei,  in  double  heptagon  (imp.).  1840 

34()2-     Wine-bottle.    H.  5J  in.    Sides  straight,  polygonal,  short  neck  shouldered.        34oo 
Brown  clay,  thick  white  glaze,  coarsely  crackled  and  punctured.     Rough  sketch  in 
dark  blue  of  fisherman,  bamboo,  etc.,  band  of  scrolls  around  shoulder.     Cloth-mark  impres- 
sion on  bottom.     Sei,  in  double  heptagon  (imp.).  1840 
Rare  form. 

These  four  wine-bottles  are  beautiful  examples  of  Shichibei's  work. 

3403~34^^'    Various  examples  of  Shichibei's  work.    Sei,  in  double  heptagon 
impressed.  1840-1860         3403 

DOHACHI    (Case  30  and  Plate  XXI.  3413,  3415) 

The  name  of  Dohachi  is  justly  celebrated  in  the  annals  of  Kiyomizu  potters.  The 
founder  of  the  family  was  one  of  a  group  of  famous  potters  who  studied  under 
Yeisen. 

FIRST   GENERATION 

Takahashi  Shuhei,  the  founder  of  the  family,  was  bom  in  1737.  He  came  from 
Kameyama,  Ise,  and  while  still  a  young  man  began  the  making  of  pottery,  at  first  in 
the  Awata  district  of  Kyoto.  He  used  to  decorate  his  own  work,  and  also  obtained 
some  fame  in  carving  wooden  objects,  such  as  netsuke.  He  learned  the  higher 
secrets  of  the  art  from  Yeisen,  and  died  in  1 793. 


CASE    29 


..  \ 


J3T8 


3333 


3379 


Sill 


3360 
33Z6         3 


354-S 


3138 


3J7S 


3368 


^\^/C^<^  i.vjr--'-- 


3336  33ZO     3314-    3332   333/        33ZS       33Z<j  33"  •.     331*    333y        333^       3iZ'i 

33ift 


33*»X 


33iri 


SS"!?  33VO        33V'/    33'«l  33V»-  33'f3     33V6 

3381 


,,o,  33»«     ,_--^   . 


S'rOT 


3'iO!.- 


3'r06 


3'i03         3«fll  S'roa 


PROVINCE   OF  YAMASHIRO 


PROVINCE   OF  YAMASHIRO 


241 


3413"  Bowl.  D.  4I  in.  Japanese  yellow  clay  and  glaze.  Over-decoration  of  cranes  in 
green,  red,  black,  and  pale  purple,  with  dull  gold  background.     Dohachi  (imp.).  ^79° 

Type  Ninagawa.     Part  V.,  Fig.  7. 

34'^4-  Large  bowl.  D.  6§  in.  Japanese  yellow  clay,  light  grayish-yellow  glaze  with  pink 
tinges.  Over-decoration  of  flowers  and  leaves  in  black  and  pale  blue,  and  white  slip. 
Dohachi  (imp.).  1790 

Type  Ninagawa.     Part  V.,  Fig.  8. 

3415-  Raku  tea-bowl.  D.  4f  in.  Very  light  fawn  clay, 
thick  deep  brown  Raku  glaze  with  Fuji  in  yellowish-white 
glaze.     Dohachi  (mc?).  1790 

Type  Ninagawa.     Part  V.,  Fig.  6. 

3416.  Raku  tea-bowl.  D.  4I  in.  Light  gray  clay,  green- 
ish-black Raku  glaze.  Double  gourds  in  yellowish-white 
glaze.      Dohachi  (imp.).  1790 


3417 


3417'  Large  shallow  bowl.  D.  7I  in.  Heavy  and  thick, 
rim  with  irregular  contour.  Hard  dark  brown  clay,  thick 
dark  gray  glaze,  coarsely  pitted.  Brush-marks  in  white  in- 
side and  out.  Five  spur-marks  inside  and  out.  Dohachi,  in 
double  gourd  (imp.).     Exceedingly  rare  mark.  1790 


*\ 


3419 


341 S 


3420    3423 


34^^3422.     Various  pieces  of  DOhachi,  signed,      1790 

3423.     Flattened  tea-jar.     H.  if  in.     Light  drab  clay,  deepest  seal-brown  glaze  with 
touch  of  golden-brown  on  shoulder.     Dohachi  (imp.).  179° 


C^ 


3424 


^^  *4^ 


3424-    Tea-pot,  loops  for  bail.     D.  3I 
over-decoration  of  flowers,  etc.,  in  brown. 
Dohachi  tsukuru  (written  on  side). 


3425-3429.     Various  exam- 
ples of  dohachi,  signed. 
Dohachi  sei  {^^2']).  1790 

3430-  Shallow  plate.  D. 
4t^  in.  Light  gray  clay  and 
glaze.  Formal  decoration  of 
chrysanthemum  in  white  shaded 
with  greenish-gray,  brown  leaf 
with  veins  scratched  through. 
Omuroyama  and  Dohachi  (imp.). 


t 


3425 


in.     Gray-fawn  clay,  grayish-white  glaze. 
Animal  rudely  modeled  on  cover. 


Rude 


1790 


3427 


3428 


3429 


3430 


Dohachi  not  given. 


242 


THE  CATALOGUE 


343^'    Large  bowl.     D.  6|  in.     Warm  fawn  clay  and  glaze  without  lustre.    Overglaze 
decoration,  inside  and  out,  of  grapes  and  leaves  vigorously  drawn.    Grapes 
in  light  purple  and  rich  green  enamels  strongly  outlined  in  black,  leaves  in 
green  enamel  and  black.     Omuroyama  shi  saku  and  Dohachi  (imp.).      1790 

SECOND  GENERATION  (Plate  XXI.  3435,  3453) 

Takahashi  Dohachi  was  skilful  in  a  variety  of  forms,  such  as  figure 
pieces,  Raku  pottery,  and  copies  of  old  pottery.  In  1827  his  work 
received  favorable  recognition  from  a  prince,  from  whom  he  received 
the  name  Nin-ami,  which  he  used  as  a  mark  on  some  of  his  pieces. 
In  1843  he  built  an  oven  at  Momoyama,  Fushimi,  and  used  among  other  marks  the 
impressed  characters  Momoyama.  The  Daimyo  of  Satsuma,  in  recognition  of  his 
skill,  presented  him  with  a  large  Triton  shell  mounted  in  silver.  Dohachi,  being  fond 
of  the  music  sung  through  this  peculiar  horn,  adopted  the  outline  of  this  shell,  with 
the  characters  Dohachi,  as  one  of  his  signatures.  Dohachi  died  in  1856  at  the  age  of 
seventy-three.     The  fame  of  the  family  rests  on  his  work. 


3432.     Haisen,  in  form  of  Triton  shell.     L.  9I  in. 
rent  glaze,  bluish-white  overglaze  in  portions.     Ir- 
regular splashes  of  dark  brown  inside  and  out. 
Unsigned.  1830 

3433-  Dish,  with  three  legs.  D.  6|  in.  Red- 
dish-brown clay,  chocolate-colored  glacze.  Thick 
brush  of  white  outside,  zigzag  lines,  stars,  bands, 
etc.,  in  white  Mishima  inside.     Dohachi  in  shell  (imp.). 


Grayish-brown  clay,  lustrous  transpa- 


3433 


3434 


1830 


3434*  JaR)  with  pottery  cover.  H.  7  in.  Light  gray-drab  clay,  transparent  underglaze, 
thick  white  overglaze.  Rough  sketches  of  birds,  scrolls,  etc.,  in  olive-brown.  Roughly 
turned.     Shohachi,  in  shell  (imp.).     Dohachi  (written),  not  given.  1830 

3435*     Cake-dish,  leaf-shaped.      D.  7  in.      Yellowish-fawn  clay,  with  light  brownish  tinges, 
clear  gray  glaze.     Butterfly  and  grasshopper  outside  in 
brown.     Inside,  impression  from  natural  leaf  with  rich 
brown  glaze  blending  into  gray.     Outside,  leaf  venation 
incised.     Jlora  Sanjin  (imp.).  1830 

3436.     Similar  form.     Dohachi  in  shell  (imp.). 

3437-     Bowl,  with  same  mark. 

3438*     Incense-box  (girl).     H.  3J  in.     Light  fawn  clay, 

white  glaze.      Drapery  in  red,  green,  yellow,  purple,  and  brown. 

Dohachi  (mc).  1830 


343S 


3436 


Face  unglazed. 


3439-  Incense-box.  D.  2^^^  in.  Moulded.  Hard  white  clay,  bright  yellow  glaze.  Inside, 
white  glaze.  Bull  on  cover  in  golden-brown  lacquer.  Diaper,  panels,  circles,  etc.,  in  relief. 
Nin-ami  (imp.).  1830 


PROVINCE   OF  YAMASHIRO 


243 


344'^'     Bowl.     D.  5  in.    Reddish-fawn  clay,  light  gray  glaze.    Turtle  in  brown.   Nin-a  (imp.), 

1830 

344'-  Deep  boat-shaped  dish.  L.  6  in.  Brown  clay,  thick  greenish-blue  I 'C 
glaze  with  brown  overglaze  running  inside  and  out.  Figure  modeled  in  one  ^  ^' 
end.     Nin-ami  (imp.).  1830      3440        3441 

344^'     Hand-warmer  (on  top  of  Case  10).     W.  ii|  in.    Modeled  in  form  of  two  puppies. 

Thick  white  glaze,  large  splashes  of  purplish-brown  iridescent  overglaze.    Nin-ami  (imp.). 

Gift  of  W.  S.  Bigelow.  1840 

3443**  Large  bowl.  D.  8f  in.  Fawn  clay,  gray  underglaze,  very  light  fawn  overglaze. 
Outside,  rude  decoration  in  brown  and  blue.  Inside,  vertical  brush-marks  of  brown  and  blue 
alternating.     Kachutei  Dokachi  sei  (imp.).  1840 

3444-  Tea-cup.  D.  2^  in.  Porcelain  clay,  white  glaze.  Outside,  pale  blue  overglaze, 
flowers  and  scrolls  in  silver.  Inside,  blue  flower  on  bottom.  Kachutei  Dohachi  sei  (written 
in  blue).  1840 


3443 


3444 


3445 


% 


3446 


3448 


3445~344^'    Bowls,  bottle,  and  incense-box,  with  mark. 
Nin-ami  (imp.). 

3449-     Circular  box.     D.  4^  in.     Very  thick.     Raku  clay,  bright  red 

Raku  glaze  gilded.     Chrysanthemum  on  cover  in  strong  relief. 

Tdzan  and  Nin-ami  (imp.).  1845 

3450.     Dish  (leaf).     L.  7f  in.    Japanese  yellow  clay,  thick  light  gray  glaze, 
leaf  inside.     Tozan  and  Nin-ami  (imp.).  1845 

345''-'  Tea-pot.  D.  3I  in.  Terra-cotta  clay,  gray  underglaze, 
white  overglaze  coarsely  crackled.  Dragons  and  scrolls  in  blue. 
T^zan,  impressed  on  cover  and  written  on  side.  1845 


3452.     Tea-pot.     D.  4J  in.     Dohachi  (written). 


1845 


3453-     Paper-weight  (rabbit).     L.  s§  in.      Nearly  white   clay, 
white  glaze.     Eyes  colored  red.     Nin-ami  (imp.).  1850 

An  exquisite  piece  of  modeling. 

Gift  of  W.  S.  Bigelow. 


3449 


Impression  of 


3451 


244  ^^^   CATALOGUE 

3454.    Tea-pot.    D.  35  in.     Moulded.    Whitish-fawn  clay,  smooth  white  glaze  without 
crackle.    Mythological  bird,  turtles,  etc.,  in  high  relief.  Nin-ami  (imp.).    1850 

3455-    Bowl.    Dohachi  (imp.).  't 

3456.  Cake-bowl,  flattened  on  four  sides,  two  sides  cut  down.  D.  sJ  in.  ^jj. 
Fine  light  gray  clay,  thick  glistening  white  glaze  coarsely  crackled.  Scrolls  and  3454 
border  in  brown,  running.     Dohachi  (written).  1850 

Gift  of  Denman  W.  Ross. 

THIRD   GENERATION 

The  potter  representing  this  generation  first  worked  in  Kii.  In  1847  he  was  invited 
to  Takamatsu,  Sanuki,  where  he  left  the  Dohachi  impress  on  the  work  of  certain 
potters  of  that  province.  Afterwards,  returning  to  Kyoto,  he  continued  his  work  for  a 
while.     In  1875  he  was  succeeded  by  his  son.  ^ 

3457-     Large  bowl,  sides  compressed.     D.  7I  in.      Dark  reddish  clay,  warm  gray  glaze, 
broad  brush-mark  of  white  inside  and  out.     Rough  surface.     Dohachi  (imp.).  1855 

3458.    Tea-bowl.     D.  5  in.     Fawn  clay,  grayish-fawn  glaze.     Kirimon,  deeply  impressed 
on  side.     Dohachi  (imp.).  1855 

3459-     Cake-plate,  rim  strongly  scalloped.     D.  7I  in.      Fawn  clay,  dull  underglaze,  thick 
white  overglaze.     Inside,  rough  decoration  of  flowers,  scrolls,  dots,  etc.,  in  brown 
and  blue.     Dohachi  (written).  1855 

3460.  Wine-bottle.      H.  6  in.      Square  neck,  polygonal  sides.      Brown  clay, 

thick  white  glaze  coarsely  crackled.     Goose  and  chrysanthemums  in  dark  blue 

and  light  red.     Deep  spiral  line  on  bottom.     Dohachi  (written).  1855 

3459 

FOURTH    GENERATION 

The  work  of  this  potter,  while  lacking  the  strength  of  his  predecessors,  is  not 
without  merit.  Many  of  his  porcelain  pieces  show  great  delicacy  and  refinement.  He 
has  received  many  awards  in  the  form  of  medals,  certificates,  etc.,  from  national  and 
foreign  expositions.  To  the  courtesy  of  this  potter  I  am  indebted  for  much  infor- 
mation regarding  the  generations  of  this  family. 

3461.  Incense-box  (bird).     H.  2^^  in.     Roughly  carved.     White  clay  and  glaze,  wings 
and  head  shaded  m  brown.     Dohachi  (inc.).  1875 

3463.     Covered  bowl.      D.  3J  in.     Japanese  yellow  clay,  light  bluish-white  glaze  without 
crackle.     Grapevine  delicately  drawn  in  blue  and  white.     Dohachi  (written).  1875 

3464-     Tea-cup,  folded  from  single  sheet  of  clay,  basal  ring  applied.     D.  2  in.     White  clay 
and  glaze.     Figure  and  grass  in  grayish-blue.     Dohachi  (written).        1875 

3465.  Furnace  FOR  tea-pot.    H.  5:|in.   Light  buff  clay  and  glaze.  Over- 
decoration  of  flowers  and  bird  in  various  colors.    Dohachi  (imp.).        1875 

3466.  Weight  for  kakemono  knob,  in  form  of  magatama.     L.  3^  in. 
Hard  white  clay,  light  yellow  glaze  with  brownish  stain  upon  end. 
Dohachi  (imp.).     Very  rare  mark.  1875 


•TV 


PROVINCE   OF   YAMASHIRO  245 

SHtJHEI    (Case  30) 

Ogata  Shuhei  was  the  younger  brother  of  the  first  Dohachi,  and  learned  the  art  of 
pottery-making  from  Yeisen.  His  pieces  are  usually  in  the  form  of  bowls,  having  a 
clear  white  crackled  glaze  with  decoration  in  blue. 

Shuhei's  work  is  in  typical  Kiyomizu  style.  JgJ 

3468.  Bowl.      D.  4f  in.      Fine  fawn  clay,  white  glaze,  stained  with  light  fawn.       2|^ 
Butterflies  sketched  in  blue.     Shuhei  (imp.).  1810       3468 

3469.  Bowl.     D.  5  in.     Finest  light  fawn  clay,  thick  light  gray  glaze.     Figures,  plum-tree, 
crane,  etc.,  in  various  colored  vitrifiable  enamels  touched  with  gold.     Shuhei  (written).    1810 

3470.  Plate.     ioJ  in.     Similar  to  last.     5//«^«  (imp.).  1810 

3471.  Bowl.     D.  4I  in.     ShUhei  (imp.).  1810       jm 

3472.  Tea-cup.      D.  2\  in.      Light  fawn  clay,  thick  white  glaze  not       JE       .  ^  ^L 
crackled.    Rocks,  figures,  etc.,  in  green,  blue,  yellow,  and  purple  enamels,  ^-^ 
•touched  with  brown,  red,  and  gold.     ShUhei  tsukuru  (yixiittn).          1810 

3473-     Squat  jar.     D.  3^  in.     Fine  fawn  clay  and  glaze.     Over-decoration  of  pine  in  green 
and  black  with  gold  cone.     Shuhei  (imp.).  1810 

YOSOBEI  (Case  30  and  Plate  XX.  3475,  3478) 

The  founder  of  this  family,  Mizukoshi  Yosobei,  began  the  making  of  pottery  in 
Gojosaka,  Kyoto,  in  the  early  part  of  this  century.  His  work  was  delicate  and  varied, 
and  in  the  most  refined  taste.  He  signed  his  pieces  with  the  character  Yoso  in  relief, 
in  a  pentagonal  panel. 

FIRST  GENERATION 

3474*     Jar,  thin  and  delicate,  with  pottery  cover  and  looped  handles.     H.  6J  in.     Yellow- 
ish-white clay  and  glaze  with  light  pink  areas,  twigs  in  brown  and  blue. 
Yoso  tsuku7~u  (written).  18 10 

3475-     Tea-pot,  made  in  upper  and  under  moulds.      D.  3I  in.      Shoulder  scalloped,  sides 
fluted.    Fine  light  gray  clay.    Body  bright  green  glaze,  shoulder  purple  glaze ;  cover  with  pur- 
ple, green,  and  yellow  glaze ;  handle  and  nozzle  light  yellow  glaze.      Yoso  (imp.).  1810 
A  beautiful  example. 

3476.     Wine  -  bottle.      H.  4I  in.     Very  light  fawn  clay,  light  grayish  glaze,  with  pinkish 
areas.     Yoso  isukuru  (yixxW&w).  18 10 


3477'     Wine- bottle.      H.  8 J  in.      Brown  clay,  thick  greenish-gray 

glaze.      Stars,  bands,  jewels,  etc.,  in  white  Mishima.  |^| 

Yoso  2L.'aA  Kiyomizu  (^xsvp^.  1810  /^  U 

3470'     Incense-box,  flattened  gourd-shaped.      H.  2\  in.     Light  gray  \g.y 

clay  and  glaze.    Under-decoration  of  gourd-vine  in  brown.      Yoso  (imp.). 
Type  Ninagawa.     Part  V.,  Fig.  14.  18 10 


246  THE   CATALOGUE 

3479.  Tea-cup.  D.  zf  in.  Fawn  clay,  white  glaze.  Under-decoration  of  flowers  and 
leaves  in  black  and  dark  gray,  roughly  sketched.      Yoso  tsukuru  (written).  ^ 

1810  r^ 

3480.  Tea-cup,      D.  2%  in.     Yellowish-fawn  clay  and  glaze.      Blossoms  and        -yX  "T 
leaves  in  greenish-red,  yellow,  and  black.     Yoso  (imp.).  1810     4^^, 

3479 
SECOND   GENERATION 

The  work  of  this  potter  is  of  a  similar  nature  to  that  of  the  first  Yoso,  though  it 
falls  off  somewhat  in  character.  The  mark  is  like  that  of  the  first  Yoso,  though  not 
so  nicely  cut. 

3481.  Furnace  for  tea-pot.  H.  6J  in.  Brown  clay,  gray  glaze.  Bands  of  stars,  flowers, 
cranes,  basket-work,  etc.,  in  white  Mishima.      Yoso  (imp.).  1830 

Type  Ninagawa.     Part  V.,  Fig.  13. 

3482.  Cake-plate,  edge  slightly  cut.  D.  Z\  in.  Japanese  yellow  clay,  yellowish-gray  glaze. 
Inside,  vigorous  decoration  of  bamboo  in  blackish-brown  and  light  brown. 

Yoso  (imp.).  1830 

34"3'  Bowl.  D.  4f  in.  Loose  fawn  clay,  dull  brown  glaze  with  blackish  over- 
glaze  around  rim.  Obscure  decoration  of  pine  in  green  and  gold.  Rough  surface. 
Yoso  (imp.).  1830 

34"4'  Cake-dish,  leaf-shaped,  rim  notched.  L.  7^^  in.  Fawn  clay.  One  half  grayish-fawn 
glaze,  remaining  half  white  glaze.  Decoration  of  pine  and  maple  leaf  in  olive-brown  and 
grayish-blue.      Yoso  iyia^^.  1830 

THIRD    GENERATION 

The  mark  of  this  potter  is  coarsely  cut  in  a  circular  panel.  The  pottery,  with 
few  exceptions,  falls  off  still  more  from  the  standard  set  by  the  first  generation.  This 
potter  died  in  i860,  and  there  was  no  successor. 

3485'  Cake-dish,  with  snout.  D.  8  in.  Japanese  yellow  clay,  light  gray  glaze.  Inside, 
flowers  in  black,  green,  red,  and  white  touched  with  gold.      Yoso  (imp.).        1850 

3486.  Beaker.  D.  4^  in.  Thick  and  heavy.  Hard  light  fawn  clay,  white 
porcelain  glaze.  Over-decoration  of  scrolls,  flowers,  etc.,  coarsely  drawn  in  red 
touched  with  gold.     Yoso  (imp.).  1850 

3487,  34^^'    WiNE-cup  and  incense-box.     Yoso  tsukuru  (written). 

3489-  Beaker.  D.  5}  in.  Brown  clay,  grayish-fawn  glaze.  Fruit  and  leaves  in  dark 
brown,  green,  and  orange-red.     Inside,  flowers  in  various  colors.     Yoso  (imp.).  1850 

3490-  Bottle,  with  nozzle  and  pottery  cover.  H.  9  in.  Japanese  yellow  clay,  clear 
white  glaze.  Over-decoration  of  flowers,  panels,  etc.,  roughly  drawn  m  green,  red,  and  black 
touched  with  gold.      Yoso  (imp.).  1850 


PROVINCE   OF  YAMASHIRO  »47 

KITEI  (Case  30  and  Plate  XX.  3494) 

The  ancestor  of  this  well  known  family  of  Kyoto  potters  was  in  the  service  of  a 
potter  named  Kameya  Uyemon,  who  lived  in  Gojosaka  in  1748.  He  finally  succeeded 
to  the  oven  in  1788.     But  few  specimens  of  his  work  are  extant. 


FIRST  GENERATION 

3493-     Tea-pot.     D.  3   in.     Light  brown  clay  unglazed.     The  signature  con- 
sists of  a  figure  of  a  turtle  impressed.  1 790 

3494.     Cake-plate.     D.  6f  in.     Fine  light  fawn  clay,  light  grayish- 
fawn  glaze  with  pinkish  areas.     Inside,  flowers  in  olive-brown. 
Kitei  (inc.).  1790 

3493 


3494 


SECOND  GENERATION 

The  work  of  the  second  Kitei  is  also  rare.     It   follows  strictly  Kiyomizu  style. 
This  potter  died  in  1 808. 

3495-     Rectangular  cake-dish.     L.  9^  in.     Rim  cut  down.     Hard  coarse  brownish  clay, 

light  gray  underglaze,  thick  white   overglaze.      Dark   brown  rim. 

Inside,  vigorous  decoration  of  flowers  and  birds  in  blue. 

Ki  (imp.).  1800 

349^-  Bowl,  sides  flattened.  D.  5J  in.  Drab  clay,  gray  under- 
glaze, white  overglaze  strongly  pitted.  Bamboo  in  brown  and  gray. 
Ki  (imp.).  1800 


3495 


3496 


THIRD   GENERATION    (Plate  XX.  3501) 

Wake  Kitei  began  the  baking  of  pottery  in  1848.     His  work  exhibits  merit  and 
originality,  and  the  fame  of  the  family  was  established  by  him. 

3497-  Furnace  for  tea-pot.  H.  5,^  in.  Hard  stone  clay,  yellow  glaze.  Hydrangea  in 
relief,  incised.  Flowers  and  leaves  glazed  green,  purple,  brown,  and  light  blue.  A  strong 
example  of  Kitei's  work.     Kitei  (imp.).  1850 

3498.  Bowl.  D.  4^  in.  Gray-drab  clay,  grayish-drab  glaze.  Butterflies  in  blue  and 
white  touched  with  gold.     Kitei  (imp.).  1850 

3499-  Bowl.  D.  3!  in.  Light  gray-drab  clay,  bluish-white  glaze.  Vigorous  over-decora- 
tion of  leaves  and  flowers  in  white,  yellow,  green,  and  brown.     Kitei  (imp.).  1850 

3500.     Wine-bottle.     H.  s|  in.     Sides  cut  vertically.     Light  brown  clay,  yellowish-fawn 

glaze.     Over-decoration  of  ducks  and  plants  in  various  colored  enamels  touched  with  brown, 

black,  and  gold.     Kitei  (imp.).  1850 

A  rare  example. 

3501-     Wine-holder.     H.  3f  in.    Looped  handles  for  bail,  open  spout.     Light 

gray  clay  and  glaze.     Kingfisher  and  grass  in  blue,  white,  and  gray.  3joo 

Kitei  (imp.).  1850 

3502.  Bowl.  D.  4J  in.  Light  gray-drab  clay  and  glaze.  Under-decoration  of  pine-cone 
and  needles  in  brown.     Kitei  (imp.).  1850 


248 


THE   CATALOGUE 


35^3-    Wine-cup.    D.  2f  in.    Fine  fawn  clay,  ivory-white  glaze,  not  crackled.     Sedges  in 
dark  bluish-gray.     7^/ in  turtle  (imp.).  1850 

3504-3506*.    Tray,  BOWL,  and  DISH.    .^//«  (imp.).  1850       l^i\ 


FOURTH   GENERATION 


3S03 


3504 


This  potter  followed  in  the  paths  of  his  predecessors.  To 
him  I  am  indebted  for  the  records  above  given.  Ninagawa  in  his  notes  makes  him 
out  to  be  the  fifth  generation.  There  is  certainly  a  long  lapse  of  time  between  the 
second  and  the  third  generations,  for  which  the  fourth  Kitei  gave  me  no  explanation. 
This  potter  and  his  father  have  often  exhibited  their  work  in  foreign  fairs. 

3507-  Bowl.  D.  4J  in.  Gray-drab  clay,  transparent  underglaze,  white  overglaze  pitted. 
Butterflies  in  dark  blue.     Kitei  (imp.). 

3508.  Bowl.  D.  4 J  in.  Reddish-fawn  clay,  thick  white  glaze,  splashes  of  thick  green 
overglaze.     Cross-lines  in  black.     Kitei  (imp.).  1865 

3509-  Oblong  dish,  corners  perforated  evidently  for  handle.  L.  sf  in.  Gray-drab  clay, 
gray  underglaze,  thick  white  overglaze,  olive-brown  rim.  Inside,  plant  and  bird  in  olive- 
brown  and  blue.     Ki,  impressed  on  bit  of  clay  and  applied.  1865 

3510-  Small  plate.  D.  35  in.  Japanese  yellow  clay  and  glaze,  splashes  of  thick  green 
overglaze.     Inside,  bridge-post  in  olive-green.     Kitei  (imp.).     Gojohashi  (written).  1865 


3S07 


% 

3508 


3iJ^ 


•  f 


I 


3509 


3510 


35" 


3512 


3513 


3514   35JS 


3511-3515-     Bowls,  COVERED  CUP,  etc.    Ki  (3511)  ;  Kitei (3512,  35^3,  35^4,  35^5*)-    All 
of  these  marks  are  impressed,  with  the  exception  of  3513,  which  is  written  in  brown. 

1865-1870 
KITO    (Case  34) 

Pottery  bearing  the  mark  Kitd  was  made  by  the  younger»brother  of  Kitei.     The 
few  specimens  of  his  work  extant  are  very  simple  in  character. 

3516.     WiNE-cup.     D.   3    in.     Modeled   by   hand.     Light  fawn   clay,    thick   white     ^^ 
glaze.     Flowers  in  blue,  inside  and  out.     Kito  (imp.).  1850 

KISUI   (Case  34) 


3516 


This  potter  was  a  pupil  of  Kitei  (1868),  and  made  pottery  in  1870  or  thereabouts. 
His  work  shows  considerable  ability. 


CASE   30 


3'»3V 


3*159       SHhO 


3^65- 


3'»38      iVSZ         3S'iS      SHSI       i'j'ffe 


3457 


3SS8 


3V66     3'rb'«    3'»6J 


\  cW  mf  "(^  "(^  £^  \^i  xsg? 


3«f3/ 


3'»39     J'r'r?  SSSZ 


x<. 


3'i76 


347S-     3V7a  i'lto 


3Hi3 


\3<ib7 
396S-   /     \  33"      ^3310 


3S86     3'i%K 


^^tg  GO  ^ 


fy^--- 


jS-03      3S-00    J'/IS    SiiSS  3S0S    3yyo      3i-o'} 


' i-ilZ  3i-Zl  3S-Z3  3i-ii    3!,-3| 


3V33  34-3'.  3S3? 


3'j73 


PROVINCE  OF  YAMASHIRO 


/fTi"^ 


PROVINCE   OF  YAMASHIRO 


249 


35^7*  Tea-pot,  strongly  turned,  lower  part  sliced  polygonally.  D.  2>\  '"•  Nearly  white 
clay.  Over-decoration  of  leaves  and  fruit  of  biwa  in  yellow,  blue,  and  green  outlined  in  black. 
Green  scroll  about  rim.     Kisui  (imp.).  1875         ^_^        ^S\         "At 

3518.     Tea-pot.     D.  3^   in.     Moulded.     Light  brownish  clay,        (vP )      (*l/         "d* 
thin  olive-brown  glaze.     Horse,  waves,  clouds,  etc.,  in  relief.  ^<*>'       \^^         ^|* 

^/j«/(imp.),  1875  *"'' 


3S»7 


3S«8 


3519.     Figure,  reclining  on  elbow-rest.     H.  5^  in.     White  clay,  rich  white  glaze. 
Brocade  in  various  colors  touched  with  gold.     Kisui  tsukuru  (written).  1875 


•V«5p 


3S«9 


ZOROKU   (Case  30) 

Kiyomizu  Genyemon,  the  first  Zoroku,  was  related  to  Kitei,  whose  name  was 
Zoroku  Kitei.  Genyemon,  when  he  began  his  work,  used  the  mark  Taisa  (also  read 
Taizo),  a.  name  derived  from  Kitei  and  Zoroku ;  afterwards  he  assumed  the  name  of 
Zoroku,  and  in  1841  separated  from  Kitei  and  established  himself  as  an  independent 
potter.  At  various  times  he  has  used  the  impressed  marks  Zoroku,  Zogaku,  Otani, 
Hiakuju,  and  others.  He  was  inclined  to  make  imitations  of  the  work  of  other  potters. 
He  died  in  1878  at  the  age  of  sixty. 


i^  ^ 


3520 


3521 


3522 
1845 


FIRST   GENERATION 

3520.  Tea-bowl.  D.  j,\  in.  Buff  clay,  thick  smooth  bluish-gray  glaze,  with  pinkish  spots, 
pitted  and  without  crackle.     Taisa  (imp.).  1841 

3521.  Tea-bowl.  D.  5J  in.  Thick  and  heavy,  thickened  rim,  sliced 
below  in  hexagon.  Fawn  clay,  clear  bluish-white  glaze  with  pinkish 
areas.     Zoroku  (imp.).  1845 

A  vigorous  example  of  his  work. 

3522.  Wine-cup.  D.  2f  in.  Reddish-brown  clay,  drab  glaze.  In- 
side, plum  blossoms  in  olive-green.    Zoroku  (imp.). 

3523-  Flower-vase.  H.  8|  in.  Looped  handles,  sides  sliced.  Rough  gray-drab  clay, 
thick  white  glaze.  Vigorous  drawing  of  plum-tree  and  blossoms  in  rich  brown  and  light  blue. 
Zoroku  (imp.).  1845 

3524.  Bowl.  D.  4^  in.  Light  gray  clay,  light  greenish-gray  glaze.  Bridge  in  bluish-gray. 
Inside,  comb-marks  and  lines  of  dots  incised.     Otani  (imp.).    1850 

3525-     Bowl.      D.  4I  in.      Similar  to  last.     Temple  and  tree  in 
olive-brown.     Otani  (imp.).  1850 

3526.     Tea-bowl.     D.  4g  in.     Yellowish  clay,  grayish-white  glaze 

with  light  pinkish  stains.    Similar  in  form  to  3521.    Zoroku  {ym^^. 

Type  Ninagawa.     Part  V.,  Fig.  15.  1855 


3524 


3527.     Wine-cup.      D.  2\%  in.      White  porcelain  clay  and  glaze.     Strong  spiral  brush-mark 
from  rim  to  base  in  rich  dark  blue.     Zoroku  (imp.).  i860 


3528.     Tea -bowl.     D.  3I  in.     Japanese   yellow  clay,  light  gray  glaze.     Figures        >^ 
carrying  a  fish  in  grayish-blue.     Zoroku  (imp.).  i860       3528 


2SO 


THE   CATALOGUE 


3529.     Bowl,  outline  of  peach.     D.   5J  in.     Yellowish-white  clay  and  glaze  with 
stains.     Glaze  combed  through  obliquely.     Hiakuju  (imp.).  i860 

3530-  Bowl.     D.  4I  in.     Light  fawn  clay,  rich  fawn  glaze.     Outside,  vertical 
lines  incised.     Inside,  figures  impressed.     Hiakuju  (imp.).  i860 

3531-  Water-vessel,  for  ink-stone,  tea-pot  form.     D.  i\  in.     Reddish-brown 
clay,  transparent  underglaze,  thick  light  bluish-gray  overglaze  showing  white  in 


3529 


portions.     Lines  and  cranes  in  white  and  blue  Mishima.     Unsigned. 
Type  Ninagawa.     Part  V.,  Fig.  16. 

3532.     Similar  to  last.     Zoroku  (imp.).  1865 

3533-  Cake-bowl.  D.  5J  in.  Sides  compressed,  fret  perforated  on  sides. 
Gray-drab  clay,  transparent  underglaze,  white  overglaze  finely  sprinkled  with 
black.     Rim  black.     Sahet  (imp.).  1870 


186s 


3533 


SECOND  GENERATION 

This  potter  was  at  work  as  late  as  1882.  He  not  only  used  the  marks  of  his 
father,  but  added  two  new  ones.  It  was  to  this  potter  that  I  finally  traced  the  miser- 
able counterfeits  of  Asahi,  Ninsei,  and  others,  with  which  the  Japanese  bric-a-brac 
shops  abounded  in  1881-82. 


3534~3540-     Bowls,  cups,  flower-holder,  etc.  1870-1878 

These  bear  the  mark  of  Zoroku  impressed.     With  the  exception  of       ^  "♦ 
the  wine-cup  and  flower-vase  they  possess  no  special  merit.  3534 


3540 


SEIFO    (Case  31) 

Seifu  Yohei,  whose  pseudonym  was  Baihin,  came  to  Kyoto  from  Kanazawa,  Kaga, 
in  1844,  and  established  an  oven  in  Gojobashi,  Kyoto.  He  first  made  Okimono  and 
other  forms  after  native  and  Chinese  models.  Later  he  made  only  blue,  and  brocade- 
decorated  tea  and  wine  utensils.  He  worked  for  a  time  in  cooperation  with  Nukina 
Kaioku  and  Oda  Kaisei.  The  second  Seifu,  whose  pseudonym  was  Gohei,  made  only 
porcelain.  The  third  Seifu,  with  the  pseudonym  of  Baikai,  has  established  a  place  in 
the  foremost  rank  of  world  -  famed  potters,  introducing  new  methods  of  glazing  and 
technique,  and  with  Makudzu  has  received  the  highest  honors  from  native  and  foreign 
national  expositions.     The  collection  contains  only  the  work  of  the  first  Seifu. 


354^-     Bowl.      D.  5}  in.      Fawn  clay,  thick  white  glaze,  strongly  pitted. 
and  wave  lattice-work  in  blue.     Seifu  (imp.). 
Gift  of  Denman  W.  Ross. 


Birds  in  panels 
1850 


3542-  Bowl.    D.  4I  in.    Light  gray  clay  with  reddish  tinges,  light  gray  glaze  finely  crackled. 
Chrysanthemums  in  brown  with  gray  leaves.    Petals  of  flowers  in  white  slip.    Setju  (ymip.).  1850 

3543-  Bowl.      D.  ^\%  in.      Fine  fawn  clay,  light  gray  glaze.     Gourd  vine  in  blue 
and  brown.     Rim  brown.     Sei/a  (imp.).  1850 

3544-  Jar-     H.  3J  in.     Fawn  clay,  thick  light  greenish  glaze,  coarsely  crackled. 
Crane  and  rosette  in  blue  and  white  Mishima.     Unsigned.  1850 


PROVINCE   OF  YAMASHIRO  251 

3545*     Box.      D.  2}^  in.      Fine  light  clay,  light  gray  glaze.     Inside,  over  -  decoration  of 

flowers  in  green  and  blue  enamels  touched  with  red  and  gold. 

Seifu  (imp.).  1850 

354^'  Cake-dish,  on  three  pinched  legs.  D.  i\  in.  Dark  drab  clay, 
rich  gray  glaze.  Under-decoration  of  pine  leaves,  inside  and  out.  Over- 
decoration  of  red  maple  leaves,  surface  spotted  with  white  slip  to  imitate 
snow.     Seifu  (imp.).  1850 

3547*     Large  BOWL.    D.  s|  in.    Yellowish-fawn  clay  and  glaze.    Over-decoration  of  flowers 
and  leaves.    Flowers  in  white  slip  glazed  blue,  red,  yellow,  and  pale  purple. 
Leaves  black  veined  with  gold.     Kenzan  (written).     Seifu  (imp.).         1850      ■  /•  —  ■ 
Very  rare  mark.  1        I 

354^-     Rinsing-bowl.     D.   4I  in.     Coarse  light   clay,  light  gray  glaze.     (]/?/ 
Under-decoration  of  vertical  brush-marks  in  dark  blue.     Seifii  (imp.),     i860      \i_> 

3547  3548 

TSUYEN    (Case  31) 

Tsuyen  is  the  name  of  a  family  in  charge  of  Uji  bridge.     In  the  time  of  Hide- 
yoshi  it  was  the  duty  of  this  family  to  draw  water  from  the  river  for  use  in  the  tea- 
ceremony.     The  family  name  runs  back  to  the  twelfth  century.     It  was  a  Tsuyen 
who  killed  the  big  snake  at   Uji  bridge  in  the  time  of  Yorimasa.     I  can  find  no 
records  of  any  potters  among  this  family.     The  pottery  might  have  been  made  by 
different  Kyoto  potters  and  inscribed  with  the  mark  Tsuyen  and  often  with  a  drawing 
of  Uji  bridge.    The  various  pieces  bearing  the  mark  7j«;/^«  certainly  vary  greatly  in 
age  and  character.     On  the  other  hand  a  rare  specimen  of  Hakuan  Ki-Seto 
in  the  collection  (Cat.  No.  2778)  bears  on  the  bottom  in  red  lacquer  an  inscrip-     jffl 
tion  indicating  that  it  had  been  the  property  of  Tsuyen,  and  the  characters     p^ 
Tsuyen  are  like  the  signature  of  Tsuyen  on  the  pottery.     Repeated  inquiries      UJ 
have  failed  to  shed  any  light  on  the  subject.  3549 

3549'     Tea-bowl.    D.  5  in.    Thick  and  heavy.     Coarse  reddish  Shigaraki  clay.     Straw  and 
pine  decoration  in  brown  on  whitish  glaze.  , 

TsUyen  (imp.).  i8oo 

3550-    Tea-bowl.     D.  4|  in.     Japanese  yellow  clay 
and  glaze.     Bridge  in  white  and  brown. 
TsUyen  (written).  1800 

A  most  beautiful  example  of  Awata. 

355^'  Raku  tea-bowl.  D.  4  in.  Thick  black  Raku 
glaze.  On  opposite  sides  the  characters  Tsti  and  Yen 
in  white  glaze.  iSoo 

3552.    Water-bottle.    H.gfin.  Whitish  Shigaraki  3SS0 

clay,  bright  red  bands  crossing  diagonally,  after  Hida- 

suke  style,  Bizen,     Bridge  and  inscription  in  brown.     TsUyen  in  brown.  1800 


9S2 


THE   CATALOGUE 


3553.  Tea-bowl.  D.  4}  in.  Coarse  red  Shigaraki  clay,  on  upper  portion  transparent 
glaze.     Tsuyen  (written  on  side  in  gray).  •  1800 

3554>  3555-  Cake-dish  and 
INCENSE-BOX.     Unsigned. 

3556.  Jar.  H.  6|in.  Gray- 
drab  clay,  white  glaze.  Bridge 
in  blue.  Tsuyen  (written  on  side 
in  blue).  1810 

3557-  Jar.  H.  nf  in.  Light 
Shigaraki  clay,  transparent  un- 
derglaze  exposed  within  ;  thick 
white  overglaze  crackled.  Broad 
decoration  of  landscape  in  blue. 
Base  glazed.     Tsuyen  (written). 

1810  3SS3 

IPPODO    (Case  31) 

In  1850  a  potter,  by  the  name  of  Suminokura  Yoichi,  began  the  making  of  bowls 
and  other  forms  for  tea-drinking.  The  work  continued  for  a  few  years  and  shows  con- 
siderable merit.     The  pottery  is  also  known  as  Suminokura. 

3558.  Bowl.  D.  s|  in.  Light  gray-drab  clay,  rich  bluish-gray  glaze.  Over-decoration  of 
bamboo,  fish-pole,  and  fish  in  green  and  black.  Fish  in  red  and  brown  touched  with  gold. 
Ippodo  (imp.).  1850 

3559-  Tea-bowl.  D.  5I  in.  Coarse  brown  clay,  heavy  gray  glaze  pitted.  Outside,  brush- 
mark  of  white  slip.  Inside,  stars,  circles,  lines,  etc.,  in  white  Mishima.  Five  spur-marks 
within.     Ippodo  (imp.).  1850 

3560*  Bowl,  sides  slightly  compressed.  D.  4f  in.  Fine  light  fawn  clay,  smooth  light 
grayish  glaze,  coarsely  crackled.     Drops  of  light  blue  overglaze  run-  __^ 

ning  from  rim.     Under-decoration  of  bamboo  in  blue,  and  vigorous 
drawing  of  crab  in  brown.     Ippodo  (imp.).  1850 

3561.  Bowl.     D.  44  in.     Hard  yellowish-fawn  clay,  warm  light 
gray  glaze.     Monkey  in  bluish-gray  and  dark  blue.     Ippodo  (imp.). 

3562.  Bowl.     D.  4}  in.     Flying  crane  outside,  monkey  inside.  - 
Ippodo  Shichijissai  tsukuru  (imp.).                                                  1850 

3563.  Box  (Fukurokuju).  H.  3J  in.  Gray-drab  clay,  head  unglazed;  body,  thick  gray 
glaze,  draperies  shaded  with  black.     Strong  example  of  modeling.     Ippodo  (imp.).  , 

1850       1^ 

3564.  Incense-box  (badger).  H.  zj  in.  Coarse  sandy  clay,  dull  light  brown  glaze.  ^JT 
Ippodo  (imp.).  1850        * 

TOYEN    (Case  31) 

In  1845-50  a  potter,  signing  his  work  Toy  en,  showed  some  skill  in  modeling  and 
decoration.  But  few  pieces  of  his  work  are  extant,  either  for  the  reason  that  his  pro- 
ductions were  few,  or  that  his  work  did  not  gain  recognition. 


CASE   31 


31V8 


XL 


n 


n 


1 '/' 


lf«f/// 


M\ 


mm 


n  \"M 


31'l'i  iXbir  3ZS-2  3Z63  3lb1  3i6Z 


3»P3      380",    37<J8    378f      37?0/^-^^ 


inwv  c       380Z 


,»        3793      ^°4f      380',    37S8    378f      j,,,,       ^2^ 


38(1  379z        3786  379',  3115       31<i'i  3800       3784"        3788      380"?       38)0 


3771 


3778     3779    3766    A^   3763^'?'      3782 


■>K-"'>r?;' 


J 


M  Lg^  ^^  jpa  (f^^ 


^ 


ILMf 


»'tii® 


3776  3761  3770  3780         a76Z         376ir       376',  3768        3772.3773  377"/ 

3S-6y 

331j^         33/i-  ,„,  - 

3306     j3  07       ,.  3i-66 


1^^^^.^^^^  33;z 


T 


33J6 


3S-60 


3SrV7  SS-V, 


sybx 


S-')3 


3b"63        3^6", 


3i"VS 


366) 


Si"  5-7  3S-4-S" 


3b-b-', 


3$'i-o         3s-i-/ 


3611         3610 


3(9&Z 


PROVINCE  OF  YAMASHIRO 


PROVINCE    OF  YAMASHIRO 


*S3 


35^5-  Furnace  for  tea-pot.  H.  6  in.  White  chalky  clay,  thin  dark  purple  glaze.  Per- 
forated designs  and  loops,  panels,  etc.,  in  high  relief,    nyen  (imp.).     1850  ^ 

Modeled  from  an  ancient  Chinese  iron  furnace  said  to  be  twelve  hun-  TiSx  %^ 

dred  years  old.  ^^T*  H) 

3566.     Covered  bowl.     D.  4J  in.     Hard  white  clay,  white  glaze  finely  \^A  i^ 

crackled.     Kirimon  in  black  on  side  of  bowl  and  continuous  on  cover.  3565  3566 
Toyen  tsukuru  (imp.),                                                                                  1850 

ARASHIYAMA   (Case  34) 

Pottery  bearing  the  mark  of  Arashiyama  shows  evidence  of  the  work  of  a  skilful 
potter  and  artist.  Arashiyama,  near  Kyoto,  is  a  favorite  resort  in  summer,  and  is 
widely  celebrated  for  its  cherry  blossoms  and  maples.  No  information  is  at  hand  as 
to  the  potter  or  oven,  and  it  is  possible  that  the  pottery  was  made  in  Kiyomizu  and 
sold  at  Arashiyama  as  souvenirs  of  the  place.     The  mark  is  very  rare. 

3567'     Bowl,  flaring.     D.  5I  in.     Coarse  brown  clay,  gray  glaze.     Outside,  flying  birds  in 
white  and  brown.     Inside,  flowers  in  white  Mishima. 
Arashiyama  (imp.).  1830 

35^8.  Deep  bowl.  D.  3I  in.  Vertical  sides,  strongly 
turned.  Brown  clay,  rich  gray  glaze.  Plum  blossoms  in 
white  slip  tinged  with  yellow  and  pink,  with  brown  leaves 
and  red  maple  leaves.     Arashiyama  (imp.).  1830  35^7  3S<59 

35^9-  Bowl.  D.  5  in.  Strongly  turned,  sides  compressed.  Coarse  light  fawn  clay, 
greenish-gray  glaze  strongly  crackled.  Rough  decoration  of  plant  in  brown,  inside  and  out. 
Arashiyama  (imp.).  1830 

ASAHITEI   (Case  34) 

Pottery  signed  Asahitei  has  been  made  within  fifty  years,  and  is  typical  Kyoto. 
No  information  has  been  obtained  in  regard  to  the  potter. 

3570-  Bowl.  D.  4I  in.  Coarse  whitish  clay  and  glaze.  Pine  in  dark  brown,  prawn  in 
blue,  splash  of  gold  inside  and  out.    Asahitei  (imp.).  1840 

357^"  Wine-cup.  D.  2|  in.  Nearly  white  clay  and  glaze  very  finely 
crackled.  Delicate  drawings  of  flying  cranes,  and  plant  in  white,  olive- 
brown,  and  blue.    Asahitei  (imp.).  1840 

3572-     Bowl.     D.  4J  in.     Sides  compressed.     Coarse  light  brown  clay,        357°         357i 
light  gray  glaze  speckled  with  brown.     Splash  of  white  glaze  covering  nearly  half  of  bowl, 
inside  and  out,  upon  which  is  rough  sketch  of  rice  in  blue  and  dark  brown.     Rim  brown. 
Asahitei  (imp.).  1840 

ASAHIMINE    (Case  34) 

Ninagawa  in  MSS.  says  that  in  the  family  of  Hozan  many  kinds  of  marks  were 
used ;  among  these  he  mentions  the  mark  Asahtmifie.  As  pottery  bearing  this  mark 
differs  greatly  from  the  Awata  and  other  kinds  bearing  Hozan's  signatiu-e,  it  vnll,  for 
the  present,  be  considered  a  separate  form.     The  mark  is  certainly  very  rare. 


254 


THE   CATALOGUE 


3573-  Wine-cup  (mask).     D.  2f  in.     Gray-drab  clay,  mask  unglazed,  shaded  with  brown. 
Inside,  white  glaze  finely  crackled,  with  broad  splash  of  rich  dark  brown  » 
glaze,  with  olive-brown  details.     Asahimitu  (imp.).                                     1830       >^»       i/?» 

3574-  Incense-box  (pine  cone  strongly  modeled).    L.  2J  in.     Brown  clay,       ^"        s^ 
splash  of  olive-green  glaze  inside.     Asahimine  (imp.).  1830       3573       3574 

OKAMURA 

A  modern  potter  of  Kyoto,  whose  beautiful  work  in  form  and  glaze,  and  clever 
imitations  of  Ninsei  and  Kenzan,  prove  that  if  the  potter's  art  has  suffered  deteriora- 
tion almost  to  the  verge  of  extinction,  there  are  those  who  can  revive  it  if  proper 
encouragement  is  given. 

3575*'     Flower-vase.     H.  7|  in.    White  clay  and  glaze.     Okamura  (imp.).      1885 

GOROSUKE   (Case  28)  ^^^^ 

A  typical  white-glazed  Kiyomizu  pottery  bearing  the  mark  Gorosuke  dates  back 
to  1840  or  1850.  The  work  still  continues.  The  mark  Shonsui  Gorosuke  appears  to 
be  the  oldest. 

357^-     Shallow  bowl.      D.  4}  in.     Gray-drab  clay,  white 
glaze  coarsely  crackled.     Rough  decoration  in  blue. 
Shonsui  Gorosuke  (imp.).  1840 

3577*  Tea-pot.  D.  4^  in.  Thick  and  heavy.  Loops  for 
bail.  Gray-drab  clay,  white  glaze,  splashes  of  dark  green 
overglaze.    Jewels  in  brown.    Gorosuke  saku  (written),     i860 

CHIKUTEI    (Case  28) 

The  impressed  mark  Chikutei  is  found  on  a  deep  beaker  in 
typical  Kiyomizu  style.  The  object  indicates  the  work  of  a  vigor- 
ous potter.     The  mark  is  extremely  rare. 

357^*  Deep  beaker.  D.  4f  in.  Thick  and  heavy,  strongly 
turned.  Rough  light  brown  clay,  thick  white  glaze.  Clouds 
and  pines  in  light  blue.     Chikutei  (imp.).  1800 

3578  3577 

SEIZAN    (Case  28) 

Two  objects  in  the  collection  bearing  the  impressed  mark  Seizan  are  identified  as 
Kyoto.  The  pieces  are  quaint  and  original  in  technique  and  decoration.  No  informa- 
tion is  at  hand  regarding  the  potter. 

3579-  Cake-dish  (Haliotis).  L.  io|  in.  Fine  light  fawn  clay,  yellowish  glaze 
without  crackle.  Inside,  over-decoration  of  wistaria  and  boat  in  yellow,  black, 
green,  white,  and  blue.     Seizan  (imp.).  1800 

3580.  FiRE-BOWL  (money-bag).  H.  6f  in.  Light  gray-drab  clay,  dull  yellowish 
glaze  without  crackle.  Jewels,  cock-fight,  boys,  etc.,  in  various  colors,  overglaze. 
Seizan  (imp.).  1800 


PROVINCE   OF  YAMASHIRO 


»5S- 


KATEI    (Case  34) 

Katei  was  an  amateur  potter  as  well  as  a  poet,  artist,  and  writer.  He  traveled 
in  various  parts  of  Japan,  and  probably  paid  his  way  by  means  of  his  accomplishments. 
That  he  lived  to  the  age  of  seventy-four  is  attested  by  one  piece  in  the  collection 
upon  which  he  has  incised  this  fact.     His  little  wine-cups  were  modeled  by  hand. 

3581.  WiNE-cup.     D.  i|  in.    Modeled  by  hand.    White  porcelain  clay  and  glaze.     Charac- 
ters in  dark  blue.     Katei  Shichi-ju-shi  (written).  i860  ^ 

3582.  WiNE-cuP.     D.  2tV  in.     Modeled  by  hand.     Yellowish-white        P      JTJ        O 
clay,  dull  light  gray  glaze,  with  pale  purplish  area.     Katei  (imp.).  _  _^^^  *^ 

35^3-     WiNE-cup.     D.  2j  in.     Yellowish-buff  clay  and  glaze,  bright        ^   .    Y         3 

358<  35S2 


WiNE-cup.     D.  2j  in.     Yellowish-buff  clay  and  glaze,  bright 
green  glaze  running  down  inside.     Thick  and  clumsy. 
Katei  and  Mi  ushi  roku  gatsu  Keishi  tsukuru  (inc.).  i860 


ROZAN    (Case  30) 

Pottery  evidently  made  in  Gojosaka,  Kyoto,  bears  the  impressed  mark  Rozan. 
has  been  made  within  recent  years. 

3584-     Bowl.     D.  5^  in.     Brown  clay,  greenish  glaze  tinged  by 
clay  beneath.     Rozan  (imp.).  1850 

35^5-     Box    (prawn).     L.   6|   in.      Light  gray   clay,   thick   dark 
brown  glistening  glaze.     Rozan  (imp.).  1850 


It 


3584 


3585 


KINSEI   (Case  28) 

Pottery  bearing  this  mark  is  said  to  have  been  made  in  Kyoto  in  1790.  It  has  a 
smooth  white  glaze  with  light  blue  overglaze  decoration  of  landscape  and  figures.  In 
more  recent  times  an  almost  identical  kind  of  pottery,  without  signature,  has  been 
made  which  has  been  variously  identified  as  Ky5to  and  Satsuma,  with  the  weight  of 
opinion  in  favor  of  Kyoto. 

3586.    Vase.     H.  8i  in.    Gray-drab  clay,  dull  thick  white  glaze.    Trees  and        IJ^*^ 
figures  in  blue.    Kinsei  (imp.).  1800        |(fl)l( 

35^7-     Shallow  dish,  with  vertical  sides.     D.  6  in.     Fine   grayish-fawn   clay,  3586 

thick  bright  buff  glaze  with  quality  of  Awata.     Inside,  under-decoration  of  boat,  aquatic 
plants,  and  geese  in  brown  and  dull  blue.     Kinsei  (imp.).        1800 

3588.  Square  vessel,  for  warming  sake.  H.  3I  in.  .Nearly 
white  clay  and  glaze.    Trees  and  figures  in  blue.    Unsigned.    1800 

35^9-     Handled  cake-dish,  similar  to  last.     Unsigned.        1800 

3590-  Plate.  D.  6|  in.  Soft  clay,  thick  salmon  glaze,  coarsely 
crackled.  Underglaze  decoration  of  chrysanthemum  and  leaves 
in  white,  brown,  blue,  and  green.     Kinsei  (imp.).  1830 

This  piece  is  placed  here  simply  because  it  bears  the  name 
Kinsei,  though  it  has  not  the  remotest  resemblance  to  No.  3586  or 
No.  3587. 


359° 


2s6  THE   CATALOGUE 

SEIZAN    (Case  28) 

A  little  covered  vessel  in  strict  blue  and  white  Kiyomizu  style  bears  the  impressed 
mark  Seizan,  —  Sei,  in  this  case,  being  the  character  for  clear.  The  two  pieces  in  the 
collection  show  good  taste  in  form  and  decoration. 

359^'    Covered  vessel,  probably  for  tea-making.     D.  4  in.     Coarse  gray-drab  clay,  light 

gray  underglaze,  white  overglaze  coarsely  crackled.     Flowers  in  dark  blue 

and  olive-brown.     Seizan  (imp.).  1840     TjE 

3592.     Bowl,  cut  many-sided  on  lower  portion.      D.  5J  in.      Light  fawn     Q/t 

clay  and  glaze.     Rough  design  in  brownish-gray.     Seizan  (imp.).  1840      3591  3592 


KOSAI   (Case  34) 

The  mark  Kosai  is  found  on  typical  Kiyomizu  pottery,  and  the  pieces  indicate  the 
work  of  a  potter  of  skill  and  taste. 
1840  or  1850. 


The  work  dates  back  to 


3593-  Large  bowl.  D.  9J  in.  Very  coarse  brown  clay,  thick 
white  glaze.  Decoration  of  panels,  lattice-work,  etc.,  in  blue  and 
brownish-green.     Kosai  (imp.).  1850 

Gift  of  Rufus  E.  Moore. 


3593 


3S94 


3594-  Bowl.  D.  5J  in.  Light  gray-drab  clay,  large  areas  of  rich  brown  glaze  covering 
opposite  surfaces,  netting  in  white  slip  on  intermediate  unglazed  surfaces.  Inside,  white  glaze 
with  flying  bird  in  dark  blue.     Kosai  (imp.).       1850 

3595*  Wine-cup.  D.  2%  in.  Nearly  white  clay, 
white  glaze  with  pinkish  tinge.  Encircling  bands  in 
white  and  blue  alternating.     Kosai  (imp.).  1850 

3596.  Wine-bottle.  H.  5^  in.  Fine  gray-drab 
clay,  white  glaze,  large  splash  of  thick  olive-brown 
overglaze  running  from  neck.     Kosai  (imp.).      1850 

3597>    3598-    Wine-cup  and  shallow  bowl,  having  same  date  and  mark. 


KIHO    (Case  28) 

A  typical  Kiyomizu  pottery  bears  the  written  mark 
Kiho.    No  record  is  at  hand  regarding  the  potter  or  oven. 

3599-     Beaker.    D.  5^  in.    Thick,  roughly  turned.    Coarse 
light  brownish  clay,  thick  white  glaze.     Under-decoration  of 
flowers  in  rich  blue.     Inside,  horses  in  blue. 
Kiho  tsukuru  (written).  1870 


3600.  Chop-stick  holder.  L.  5 J  in. 
clay,  thick  white  glaze.  Bamboo  in  blue. 
Kiho  tsukuru  (written). 


Coarse  gray-drab 
1870 


3599 


3600 


PROVINCE    OF  YAMASHIRO 


257 


SEIUNZAN    (Case  28) 

A  typical  Kiyomizu  pottery,  with  an  age  of  twenty  years  or  less,  is  evidently  the 
work  of  a  professional  potter  who  signed  his  pieces  with 
the  impressed  mark  Seiunzan. 

3601.  Bowl.     D.  5J  in.     Light  gray-drab  clay,  white  glaze. 
Rich  decoration  of  flowers  in  dark  blue.    Seiunzan  (imp.).    1875 

3602.  Large  plate.     D.  ioJ  in.     Similar  to  last. 
Seiunzan  (imp.).  '[875 

3603.  Covered  cake-holder.     D.  5J  in.    Gray-drab  clay,  gray  glaze.     Decoration  of 
scrolls,  etc.,  in  brown.     Seiunzan  (imp.).  igyc 


SHUNSAI    (Case  28) 

In  recent  years  a  potter  of  Kiyomizu  has  made,  among  other  ob- 
jects, bowls  which  he  signed  with  the  impressed  mark  Kiyomizu,  and 

the  incised  mark  Shunsai,  and  kakihan. 

\ 

3604*     Tea-bowl.     D.  4f  in.     Fawn  clay,  light  fawn  glaze  with  pinkish 

areas.     Mountain  outlined  in  brown. 

Shunsai  (inc.).     Kiyomizu  (imp.)  not  figured.  i860 


3604 


KIRAKU   (Case  34) 

A  hard  porcelain  clay  in  the  form  of  cups  decorated  in  bright  colors  and  gold, 
bearing  the  written  mark  Kiraku,  probably  dates  from  1870. 

3605.  Bowl.    D.  3I  in.     Light  clay,  white  glaze.     Bamboo,  plum,  and 
pine  in  blue.    Inside,  ornamental  border  in  blue.    ^/ra/J«  (written).     1870 

3606.  Tea-cup.     D.  2|  in.     White  clay  and  glaze.     Figures  in  various 
colored  enamels  outlined  in  black  with  red  and  gold. 
Kiraku  tsukuru  (written).  1870 

3607.  Wine-cup.     D.   2|  in.     Fujiyama   modeled  on   rim  and  inside. 


glaze.     Traces  of  gold  decoration  inside.     Nennensha  Kiraku  tsukuru  (written). 


White   clay  and 


1870 


KOZAN   (Case  31) 

A  Kiyomizu  potter,  signing  his  pieces  with  the  mark  Kazan,  was  at  work  in  1870. 
The  few  pieces  in  the  collection  are  without  merit. 

3608.  Bowl.     D.  4f  in.      Fawn-colored  clay,  light  chocolate 
glaze.     Outside  and  inside  circles,  stars,  frets,  etc.,  in  white 
Mishima,  covered  with  broad  brush-mark  of  white. 
Kazan  (imp.).  1870 

3609.  Shallow  bowl,  on  three  short  legs.     D.  5I  in.    Brown 
clay,  dull  light  fawn  glaze.     Kazan  (imp.),  1870 

361O-3612.     Bowl  and  two  plates.     Gray  glaze  and  white  Mishima  decoration. 
Kazan  (imp.). 


1870 


2s8 


THE   CATALOGUE 


Xt 


3614 


KYOTO,   IN   GENERAL 

Under  this  name  are  included  many  objects  whose  makers  are  not  known.  Some 
of  them  are  of  fair  age,  and  many  of  them  show  the  marks  of  skilful  potters.  These 
are  variously  distributed  in  the  cases  containing  the  pottery  of  Yamashiro.  The  first 
one  here  catalogued  is  figured  by  Ninagawa,  and  he  records  that  it  was  made  between 
Kiyomizu  and  Gojosaka. 

3613  (Case  28).  Bowl.  D.  4S  in.  White  clay  and  glaze  finely  crackled. 
Line  of  circles  in  blue,  green,  purple,  red,  and  gold,  strung  on  line  of  gold. 

Type  Ninagawa.     Part  IV.,  Fig.  34.  1680 

3614  (Case  34).  Wine -BOTTLE,  double  gourd-shaped,  sides  octagonal. 
H.  8J  in.  Light  fawn  clay,  rich  white  glaze.  Diaper  pattern  impressed 
on  alternate  faces  of  upper  part,  rich  blue  decoration  of  birds,  bamboo, 
flowers,  and  characters.    Jo  jo  dai  kichi  (inc.),  meaning  very,  very  good. 

1750 

3615  (Case  34).     Plate.     D.  9J  in.     Light  fawn  clay,  thick  white  glaze  coarsely  crackled. 
In  centre,  figures  in  light  blue  surrounded  by  writing  in  blue. 

Hogom  sei  (written).  1750 

3616  (Case  34).  Bowl.  D.  sJ  in.  Thick  and  heavy. 
Fawn  clay,  firm  yellowish-fawn  glaze.  Plum  blossom,  in 
brown.  Basal  ring  deeply  notched.  Kd,  on  bottom  (inc.). 
Battkeian  (name  of  artist)  written  on  side.  1750 

3617  (Case  28).  Fire -VESSEL,  hexagonal.  D.  5  in. 
Japanese  yellow  clay  and  glaze.     Flowers  and  leaves  in  brown, 

3622  (Case  34).  WiNE-BOTTLE,  double  gourd- 
shaped.  H.  8  in.  Thin  walls.  Light  brown 
clay  and  thin  brown  glaze.  Neck,  white  glaze 
with  flowers  in  blue.    Kasei  nmsei  (inc.).      1800 

3624,  3625.     Bottle  and  deep  cup.      1820 

3626  (Case  34).  Incense  -  stick  burner. 
H.  2j  in.  Light  gray -drab  clay,  thick  light 
green  celadon  glaze.  Obscure  decoration  in 
gold.     Gohonzan  onaratame  (imp.).  1820 

3627  (Case  28).    Bowl.     D.  3I  in.    Gray-drab  clay,  light  grayish  glaze  coarsely  crackled. 
Encircling  lines  around  rim  in  white  Mishima. 

3629-3633.    Bowls,  jar,  wine-bottle,  and  fan-shaped  cake-dish. 

3636  (Case  34).      Fire-vessel.      H.  \\  in.     Light  gray-drab  clay, 
thick  white  glaze.    Over-decoration  of  flowers  and  birds  in  blue,  green, 
yellow,  and  purple,  with  dots  of  red.     Green  border. 
Mark  obscure  (written).  1830 

3637  (Case  34).  Bowl,  in  form  of  half  an  egg,  pointed  below. 
D.  5  in.  Light  fawn  clay,  thick  grayish-fawn  glaze.  Inside,  landscape 
in  olive-brown.  1840 


3622 


3626 


3615 


3636 


PROVINCE   OF   YAMASHIRO  259 

3638  (Case  34).    Bowl,  with  flaring  and  scalloped  edge.   D.  4I  in.    Light  fawn  clay  and  glaze. 
Rough  surface.     Rim  dark  brown.     Identified  by  Ninagawa  as  Kamogama  pottery.  1840 

3643,  3644.    Wine-bottles.  1850 

3646  (Case  34).    Water-jar.     H.  6J  in.     Coarse  brown  clay,  rough  surface,  brown  glaze, 
mottled  with  darker  brown,  thick  bluish-white  overglaze  running  in  streams  from  rim.       1850 

3648  (Case  34).     Bowl.    D.  4J  in.     Coarse  gray-drab  clay,  rough  surface,  brown 
glaze.     Jewels  in  black.     Characters  in  white  slip.     Aihi  (imp.).  1850 

3649  (Case  34).     Bowl.     D.  i-fs  '"•     Hard  white  stone  clay  and  glaze. 
Made  by  Takeda,  the  only  pupil  of  the  first  Bizan.    Togiyoku  (imp.),      i860 

3650  (Case  34).   Wine-bottle,  with  four  flattened  sides.    H.  6|  in.    Deep      ^  '*^ 
reddish  clay,  reddish-brown  glaze  clouded  with  darker  brown.   Otani  and  Kinkozan  (imp.). 

This  may  be  a  Zoroku  piece,  as  it  bears  the  mark  of  Otani.     The  charac- 
ters for  Kinkozan  are  different  from  the  Awata  Kinkozan. 

3651*.     Haisen.      D.  9^  in.      Clay  hard  and  fine,  Awata  glaze  minutely 
crackled.     Over-decoration   of  spray   of  chrysanthemum   in  white, 
light  blue,  and  rich  brown.     Tozan  (imp.).  1865 

This  piece  is  probably  the  work  of  a  Kyoto  potter  by  the  name 
of  Hattori  Chubei.  Ninagawa  in  manuscript  simply  mentions  this 
potter  by  name,  stating  that  he  used  the  impressed  mark  of  Tozan. 

3652*.     Small  jar.     H.  iJ  in.     Purplish  clay,  white  glaze,  thick  splash  of  reddish-purple 
overglaze.    Obscure  decoration  in  deep  olive-brown.     Wakasugi  (imp.).     1870 

3653  (Case  34).  Circular  BOX.  D.  3iin.  Japanese-yellow  clay  and  glaze. 
Flowers  and  leaves  in  bluish-gray  and  black. 

3654-  Flat  plate.  D.  5J  in.  Light  fawn  clay,  grayish-fawn  glaze.  Cow 
lily  (Nuphar)  in  brown.    Name  of  artist,  Soken  ga,  and  kakihan  (written).    1865 

3655,  3656.     Bowl  and  flower-vase.  1870 

3657~366o*'    Bowl,  incense-box  {Kin  inc.),  tea-jar,  and  wine-bottle. 

3661  (Case  31).  Cake-dish,  hexagonal.  D.  6\  in.  Light  brown  clay,  deep 
brown  glaze.  Inside,  rough  design  of  pavilion  and  flowers  in  olive-green 
enamel  outlined  in  white  and  colored  with  dark  blue  enamel,  also  blue  enamel 
rim.     Perforated  design  on  sides.  i860  3054 

3662  (Case  31).     Covered  cake-bowl.     D.  7 J  in.     Dull  dark  brown  surface.     Turtles  in 
white  slip  shaded  with  dark  blue  enamel.     Inside,  yellowish-white  glaze.  i860 

Gift  of  W.  S.  Bigelow. 

These  two  pieces  are  evidently  by  the  same  artist. 

RAKU   (Case  32) 

A  peculiar  variety  of  Japanese  pottery,  known  as  Raku,  derives  its  name  from 
incidents  connected  with  its  first  production.  Chojiro,  the  son  of  a  Korean  potter, 
attracted  the  attention  of  Hideyoshi,  who  invited  him  to  build  an  oven  near  a  pleasure- 
house  named  Juraku.     Hideyoshi  became  his  patron  and  later  gave  to  Chojiro's  son 


26o  .  THE   CATALOGUE 

a  gold  seal  or  stamp  bearing  the  character  Raku,  which  signifies  happiness.  Pottery 
known  as  Raku  has  peculiarities  which  separate  it  quite  distinctly  from  other  kinds 
of  pottery.  In  general  terms  it  may  be  described  as  having  a  light  gray  or  fawn- 
colored  clay,  loose  and  sometimes  coarse  in  texture.  The  glaze  is  thick  and  often 
lustrous,  the  usual  colors  being  black  or  red,  the  former  color  predominating.  The 
pieces  are  usually  in  the  form  of  bowls  with  thick  walls,  low  basal  ring,  and  three 
spur-marks.  These  are  modeled  by  hand,  and  shaved  or  cut  into  shape.  The  work 
is  usually  signed  with  the  character  Raku  within  a  circle,  in  relief.  The  bowls  are 
highly  esteemed  by  the  Japanese  for  use  in  tea-drinking,  for  the  reason  that  being 
made  of  loose  material  with  thick  walls  the  substance  offers  an  excellent  non-con- 
ductor, and  the  bowl  may  be  held  in  the  two  hands  (as  in  the  act  of  drinking  pow- 
dered tea)  without  discomfort.  The  use  of  Raku  pottery  for  bowls  led  to  the  making 
of  other  utensils  of  the  same  kind  of  pottery  for  the  tea-ceremony,  and  of  these  the 
most  common  are  in  the  form  of  incense-boxes.  Other  colored  glazes  are  used,  such 
as  green  or  even  yellow.  Simple  decoration  in  glazes  of  contrasting  colors  is  seen. 
Kyoto  must  be  regarded  as  the  home  of  typical  Raku  pottery,  though  Kyoto  potters 
have  spread  the  art  far  and  wide  in  Japan,  notably  in  the  provinces  of  Sanuki,  Kaga, 
Musashi,  Settsu,  Su5,  Suruga,  Iwami,  Shinano,  and  more  rarely  in  Ise  and  Higo.  All 
accounts  agree  in  stating  that  the  father  of  Chojiro  was  a  Korean  by  the  name  of 
Ameya,  who  came  to  Japan  in  1521.  Becoming  naturalized  he  adopted  the  name 
Sasaki  and  married  a  Japanese  woman.  His  work  consisted  of  hand-made  pottery. 
The  wife  was  left  a  widow  with  one  child,  and  continued  the  work  of  her  husband. 
Some  authorities  credit  her  with  the  discovery  of  the  peculiar  Raku  glaze.  The  pro- 
duct of  Araeya's  kiln,  and  that  of  his  wife,  is  said  to  be  impossible  to  obtain.  Choya, 
the  son  of  Ameya,  profiting  by  his  mother's  instruction,  soon  attracted  the  attention 
of  Rikiu,  the  famous  tea-master,  who  gave  him  the  name  Chojiro.  He  is  reckoned  as 
the  first  generation  of  the  Raku  family.  He  died  in  1592.  The  collection  has  no 
example  of  his  work. 

SECOND   GENERATION,  JOKI 

Joki,  son  of  Chojiro,  attained  such  skill  in  his  work  that  Hideyoshi,  continuing  his 
patronage,  finally  conferred  on  him  a  gold  seal,  upon  which  was  cut  the  character 
Raku.  Joki  was  greatly  assisted  by  his  younger  brother,  Somi.  Joki 
finally  abandoned  the  aid  extended  to  him  by  Hideyoshi,  and  began 
to  work  on  his  own  account.  He  built  an  oven  at  Abura-no  Kogi  in 
Kyoto,  and  the  successive  generations  of  the  family  have  continued  the 
oven  on  the  same  site.     He  died  in  1636. 

3663.     Tea-bowl.      D.  4J  in.      Rich  thick  black  Raku  glaze,  iridescent.  3663 

On  side,  two  jewels  in  white.     Raku  (imp.),  mark  of  Joki.  1630 

THIRD   GENERATION,  DONIU 

Doniu  is  said  to  have  been  a  younger  brother  of  Joki.  Doniu  was  commonly  called 
Kichibei,  and  afterwards  received  the  name  of  Kichizayemon.  He  died  in  1657.  Nina- 
gawa  believed  that  Doniu  was  the  brother  Somi  referred  to  above.  He  used  the 
character  Raku  reversed. 


PROVINCE   OF   YAMASHIRO 


261 


3664.  Deep  bowl.     D.  3  in.     Bright  black  Raku  glaze  with  large  areas  of  mottled  reddish- 
brown.     Raku  (imp.),  mark  of  Doniu.  1650 

FOURTH    GENERATION,  ICHINIU 

This  potter  was  the  son  of  Doniu,  and  was  commonly  called  Sahei, 
and  also  Kichizayemon.     His  bowls  have  lustrous  black  glaze  with  red- 
dish spots.     This  potter  went  to  Ise,  and  under  the  name  of  Sahei  made  ^^ 
pottery  for  a  time.    (See  Ise.)    Ichiniu  used  two  different  forms  of  Raku  for  his  mark. 
He  died  in  1647. 

3665.  Tea-bowl.   D.  4  in.    Rich  black  Raku  glaze,  thick  black  iridescent  overglaze,  strongly 
pitted.    Basal  ring  roughly  modeled.   Raku  (imp.),  mark  of  Ichiniu.     1690 

3666.  Tea-jar,  double  gourd-shaped.     H.  2%  in.     Raku  (imp.).      1690 

FIFTH    GENERATION,  SONIU 

Soniu  was  a  son  of  Ichiniu.     This  potter  never  signed  his  bowls, 
but  incense-boxes  and  other  articles  made  by  him   bore  the  usual 
impressed  mark  Raku.     Soniu  assumed,  and  perhaps  justly,  that  no 
one  but  himself  could  make  Raku  bowls  possessing  the  peculiar  qualities  of  his  own 
work,  and  hence  there  was  no  necessity  for  signing  them  !     He  died  in  1732. 

3667.  Tea-bowl.     D.  4I  in.     Rich   black   iridescent  glaze,  overglaze  in   heavy  running 
masses ;  inside,  strongly  pitted.     Wide  basal  ring.     Six  spur-marks.  1710 

3668.  Cup-rest.     D.  5  in.     Thick  and  heavy,  flaring  portion  hexagonal.     Smooth  black 
iridescent  Raku  glaze  strongly  pitted.  1710 

3669.  Incense-box.     D.  2|  in.     Dull  light  red  Raku  glaze.    Raku,  impressed  inside  cover. 
Mark  of  Soniu.  1710 

3670.  Incensebox  (Daruma).     L.  3^  in.     Thick  and  heavy.      Reddish- 
brown  Raku  glaze,  surface  roughened.     Face  flesh-colored.     Raku  (imp.). 

1710 

3671.  Fire -vessel.     H.   4  J   in.     Rich   green   glaze   mottled.     Melon- 
shaped,  knobs  about  shoulder.     Raku  (imp.).  1710 

3670 

SIXTH   GENERATION,  SANIU 

Saniu,  commonly  known  as  Kichiyemon,  son  of  S5niir,  continued  the  work  of  Raku- 
making.  His  bowls  were  considered  tasteful.  He  died  in  1739,  though  another 
authority  gives  the  date  as  1751. 

3672.  Tea-bowl.    D.  5J  in.    Thickened  rim,  with  three  equidistant  crenu- 
lations.     Bright  light  red  Raku  glaze  with  greenish  areas. 
Raku  (imp.),  mark  of  Saniu.  1730 

3673-     Incense-box.     L.  2J  in.     Dull  bluish-black  iridescent  glaze. 

Raku  (imp.).  1730  3673 

SEVENTH  GENERATION,  CHONIU 

This  potter  was  also  known  as  Kichiyemon.  He  was  the  son  of  Saniu,  and  used 
one  form  of  mark  in  signing  his  work.     Choniu  died  in  1 760. 


262 


THE  CATALOGUE 


3674.     Tea-bowl.     D.  4J  in.     Highly  polished  olive-black  glaze,  red  underglaze  exposed 
in  places,  flecks  of  green  in  glaze.    Basal  ring  irregular.    Raku  (imp.),  mark  of  Choniu.    1750 

3675-  Square  box,  corners  fluted.  H.  2J  in.  Bull  in  relief  on  cover. 
Liglit  fawn  underglaze  exposed  on  base  and  top  of  cover.  Sides  of  box  rich 
green  glaze  shaded.     Raku  (imp.).  1750 

3676.     Box  (jewel).    D.  2|  in.    Shiny  black  Raku  glaze.   Raku  (imp.).  1750 

3677'     Tea-bowl.     D.  4I  in.     Rich  black  glaze.     (Raku  imp.).  1750  ,  , 

EIGHTH    GENERATION,   TOKUNIU 

Tokuniu,  representing  the  eighth  generation,  died  young  in  1 774 ;  for  this  reason 
the  work  of  this  potter  is  very  rare.  One  mark  only  is  recorded,  and  this  shows  the 
impression  of  a  seal  coarsely  drawn  and  cut. 

3678.     Incense- BOX   (turtle,  conventionalized).     L.   if  in.     Greenish- 
white  underglaze,  exposed  inside,  thin  brownish-black  overglaze. 
Raku  (imp.),  mark  of  Tokuniu.  1770 

3679-  iNCENSE-nox.  D.  2ff  in.  Light  red  Raku  glaze.  Under-decora- 
tion  of  cross-lines  in  light  yellow  on  cover.  Roughly  modeled.  Obscure 
mark  in  red  lacquer.  1770  3678 

NINTH   GENERATION,   RIYONIU  (Plate  XXII.  3682,  3683,  3687) 

Riyoniu  was  the  adopted  son  of  Tokuniu,  though  another  authority  says  he  was 
a  son  of  Choniu.  Riyoniu  was  at  work  in  1790.  Three  different  marks  were  used  by 
him  in  signing  his  pieces.  In  the  year  1792,  the  two  hundredth  anniversary  of 
ChSjiro's  death,  Riyoniu  made  two  hundred  bowls  signed  with  the  mark  Raku,  which 
was  used  only  on  these  anniversary  bowls. 

3680.  Tea-bowl.     D.  4I  in.     Rich  glossy  black  glaze, 
strongly  pitted,  iridescent  on  base. 
Raku  (imp.),  ist  mark  of  Riyoniu.  1790 

3681.  Tea-bowl.  D.  4^  in.  Light  buff  clay,  trans- 
parent underglaze,  bright  red  overglaze  with  greenish  areas 
mottled.     Raku  (imp.),  ist  mark  of  Riyoniu.  1790  ^ 

3682.  Tea-bowl.  D.  4  in.  .Thick  walls.  Light  red  glaze  with  greenish 
areas.  Strongly  incised  design  of  pine  branches  filled  with  white.  Strong 
spiral  mark  on  bottom.     Baiyen  (inc.),  name  of  artist  who  decorated  it. 

1790 

3683.  Tea-bowl.     D.  5  in.     Soft  grayish-white  clay,  light  yellowish  underglaze,  bright  red 
overglaze  with  large  splash  of  green  glaze  mottled.    Jewels  in  white. 

Raku  (imp.),  2d  mark  of  RiySniu.  1790 

Gift  of  Denman  W.  Ross. 

3684.  Box  (bird).     L.  3J  in.     Thick  and  heavy.     Rich  green  glaze,  base  of  wings  yellow- 
ish-red glaze.     Raku  (imp.),  2d  mark.  179° 

3685.  Box  (conventional  bird).     H.  2/g^  in.     Roughly  carved.     Glistening  honey-colored 
glaze.     Raku  (imp.),  2d  mark.  1790 


3682 


PROVINCE   OF  YAMASHIRO 


3686.  Cup-rest,    D.  2|  in.    Thin  red  glaze  with  olive-green  areas, 

3687.  Tea-bowl.     D.  3f  in.     Rich  black  shining  glaze,  flecks  of  white, 
lines  on  side.    Raku  (imp.).     Sho  (inc.).  1790 

3688.  Tea  -  BOWL.  D.  4  in.  Buff  clay,  transparent 
underglaze,  light  red  overglaze  with  olive  area.  Under- 
glaze  showing  through.     Raku  (imp.),  2d  mark. 

3689.  Box  (bird).     L.  2  J  in.     Raku  (imp.). 

3690.  Tea-bowl.     D.  s|  in.    Black  glaze. 
Raku  (imp.). 


263 

Raku  (imp.).       1790 
Diagonal  incised 


1790 
1790 


1790 


3691*.     Cup-rest.     D.  2\  in.     Thin  green  glaze.     Design  impressed  and  perforated, 


Raku  (imp.),  3d  mark  of  Riyoniu. 

L.  3 1  in.     Rich  green  glaze  clouded. 


Im- 
1790 

Leaves  light  fawn,  stem 


3696 


pressed  portion  gilded. 

3692.    Box  (peach). 

yellow.     Inside,  very  light  fawn  glaze. 

Raku  (imp.),  3d  mark.    Koki  (inc.).  179° 

3693-  Dish,  two  shells  with  looped  legs.    L.  6  J  in.    Yellow- 
ish-white glaze  with  greenish  tinge,  coarsely  crackled. 
Raku  (imp.),  3d  mark.  1790 

3694-  FiRE-VESSEL.  H.  4I  in.  Light  fawn  clay,  creamy- 
white  glaze  with  greenish  tinge  crackled.    Raku{vm^^.    1790 

3695.  Globular  jar.     H.  6^  in.     Raku  (imp.).  1790 

3696.  Tea-bowl.  D.  4I  in.  Fawn  clay,  yellowish-white 
underglaze,  heavy  dull  black  overglaze.  Large  mountain 
shaded  in  yellowish-white.     Riyoniu  tsukuru  (inc.).  1790 

3697.  Tea-bowl.     D.  4J  in.     Glistening  yellowish-white  glaze,  clouded  with  large  areas  of 
light  olive  and  pinkish  hues.     Closely  scratched  vertical  lines 
on  side  of  bowl,     ^w^a/ /"jW/J^/rw  and  kakihan  (inc.).  1790 

TENTH   GENERATION,  TANNIU 

Tanniu  was  the  second  son  of  Riyoniu.  His  work 
possesses  no  special  merit.  He  used  five  different  marks, 
one  of  which  was  given  him  by  the  prince  of  Kii,  in 
whose  oven  at  Wakayama  he  baked  for  a  while.  Pieces 
made  in  Wakayama  bear  the  mark  Seinei. 

3698.  Tea-bowl.     D.  5J  in. 
thick  lustrous  black  glaze. 
Raku  (imp.),  ist  mark  of  Tanniu.        18 10 

3699.  Deep    tea -bowl.      D.   i\\   in. 
Coarse    fawn    clay,  thick   lustrous   black 
glaze.   Plum  blossom  and  triangular  figure 
in  yellowish  glaze. 
Raku  (imp.),  2d  mark  of  Tanniu.        i8io  3698 


Coarse  dull  light  brown  clay. 


264 


THE  CATALOGUE 


3700-     Tea-bowl.     D.  4I  in.     Coarse  light  gray  clay,  under  and  over  glaze  thick,  lustrous 
black,  and  iridescent.     Raku  (imp.),  2d  mark.  1810 

370^'  Box.  D.  2|  in.  Red  glaze,  light  green  areas,  rough- 
ened with  white  specks.  Conventional  flowers  in  white  on 
cover.     Raku  (imp.),  3d  mark  of  Tanniu.  1810 

3702.     Tea-bowl.     D.  4I  in.     Light  fawn  clay,  transparent 
underglaze,  light  red  overglaze  with  greenish  areas.     Under- 
decoration  of  pine  trees  in  white. 
Raku  (imp.),  3d  mark.  1810 


3700 


3702 


ELEVENTH    GENERATION,  KEINIU 

Keiniu,  also  known  as  Kichizayemon,  made  Raku  pottery  of  an  inferior  kind.  He 
used  three  marks,  the  first  in  1836,  the  second  in  1851,  and  the  last  in  1870.  The 
last  mark  had  the  additional  character  Haku  associated  with  Raku.  On  the  two 
hundred  and  fiftieth  anniversary  of  Chojiro's  death,  Keiniu,  following  the  example  of 
Riyoniu,  made  two  hundred  and  fifty  bowls,  signed  with  the  usual  mark  Raku,  as 
well  as  a  special  mark  Raku. 

3703.     Tea-bowl.     D.  3^  in.     Light  yellow  underglaze,  brownish-black  overglaze.     Yellow 
areas  exposed,  representing  gibbous  moon  and  cloud  strata. 
Raku  (imp.),  ist  mark  of  Keiniu.  1840 


3704.     Tea-bowl.     D.  4I  in.     Thick  lustrous  black  Raku 
glaze.     Raku  (imp.),  2d  mark  of  Keiniu.  1852 

3705"     So^'  with  looped  handle.     D.  2J  in.     Light  fawn 
clay,  transparent  underglaze,  bright  light  red  overglaze  with  3703  3704 

greenish  areas.    Under-decoration  of  pine  needles  on  cover,  and  cross-hatching  about  margin. 
Raku  (imp.),  2d  mark  of  Keiniu.  1852 

3706.    Spoon.     L.  3^  in.     Light  red  glaze.    Raku  (imp.).  1852 

yjOJ.     Tea-bowl.     D.  4^  in.     Light  brown  clay,  yellowish  underglaze,  bright  green  over- 
glaze about  rim.     Under-decoration  of  brush-mark.     Raku  (imp.),  2d  mark  of  Keiniu.     1852 

3708.     Fire-vessel.     D.  5-^  in.     Bright  green  glaze.     Raku  (imp.).         1852 

3709-     Tea-bowl.     D.  /^\  in.     Coarse  light  fawn  clay,  glistening  black  under- 
glaze, thick  reddish-brown  overglaze,  running. 
Raku  (imp.),  3d  mark  of  Keiniu.  1870  3709 

TWELFTH    GENERATION,    KICHIZAYEMON 

This  potter,  representing  the  twelfth  generation  of  this  long  line  of  potters, 
was  at  work  in  1882,  and  from  him  I  gathered  many  of  the  facts  herein  recorded. 
Among  other  matters  of  information  I  learned  from  him  that  only  the  immediate 
members  of  the  family  were  engaged  in  the  making  of  Raku  pottery.  It  has  also 
been  the  custom  of  the  family,  on  the  death  of  its  head,  to  cut  the  Raku  seal  in  halves 
and  bury  the  pieces  with  the  body. 


PROVINCE    OF  YAMASHIRO 


36s 


3729 


3710 


3710-      Tea -BOWL.      D.   4J   in.      Coarse   light  fawn   clay,   thick   lustrous  brown   glaze. 
Raku  (imp.),  mark  of  Kichizayemon.  1880 

The  following  specimens  are  Raku  pottery,  many  of  them  bearing 
the  mark  of  Raku,  some  of  considerable  age ;  but  it  is  impos- 
sible to  assign  them  to  their  proper  makers.    Some  are  unques-       |S\ 
ionably  fraudulent,  and  it  is  not  impossible  that  some  of  the 
above  may  be  placed  in  the  same  category. 

371I— 3729.     Raku   tea-bowls,   tea-jars,  and  incense-boxes,    among  which  is  a  tea-jar 
with  the  mark  of  Seiniu  (No.  3729).  1750-1890 

ICHIGEN    (Case  32) 

This  potter,  commonly  known  as  Yahei,  is  said  by  one  record  to  have  been  the 
pupil  of  Ichiniu  (fourth  Raku) ;  by  another  record  he  is  said  to  have  been  a  son  of 
Ichiniu.  He  made  Raku  bowls  of  considerable  merit.  He  marked  the  boxes  con- 
taining his  work  with  the  stamp  of  Raku.  The  single  specimen  in  the  collection  has 
the  incised  mark  Ichigen.     His  work  is  exceedingly  rare. 

3730-     Tea-bowl.     D.  4f  in.     Deep  red  clay,  with  smooth  surfaces,  thick  light  red  Raku 

glaze  mottled  with   white,  showing   greenish-gray  below.     Closely  crackled. 

Ichigen  tsukuru  (inc.).  1720       ^nMM 


GENGEN   (Case  32) 

An  amateur  potter  named  Gengen  Hachizo 
made  Raku  tea-bowls  at  Kyoto  in  1 837-1 838. 
These  were  signed  Gengen.  The  single  specimen 
in  the  collection  is  vigorously  made  and  rich  in 
color. 

373^'  Tea -BOWL.  D.  4  in.  Thick  walls.  Sides 
broadly  sliced.  Fawn  clay,  bright  red  Raku  glaze, 
large  area  of  olive-green.     Gengen  (imp.).  1837 


373° 


KYURAKU  (Case  32) 

This  potter,  commonly  known  as  Yasuke,  made  Raku  pottery  of  a  peculiar  quality, 
using  white,  yellow,  and  green  glazes.     He  was  at  work  in  1855. 

3732.     Candlestick.      H.  4I  in.     Very  light   red  clay, 
white  glaze  strongly  crackled.     Kyuraku  (imp.).  1855 

3733-     Flower-vase.     H.  7  in.     Light  fawn   clay,  clear 
yellow  glaze.     Kyuraku  (imp.).  1855 


3732 


3733 


OKAZAKI    (Case  32) 

Raku  pottery,  with  the  impressed  mark  Kagura  (also  read  Shinraku  and  Kanrakti), 
was  made  by  Bunzaburo  in  Okazaki  village,  as  late  as  1870.  The  pottery  is  known 
as  Okazaki  by  the  Japanese.  The  work  is  of  an  inferior  kind,  though  some  merit 
attaches  to  the  earlier  pieces. 


266 


THE   CATALOGUE 


3735 


3736 


3734-  Tea-bowl.     D.  3I  in.     Rich  glistening  black  glaze.     Plum  blossoms  inside  and  out' 
in  white  glaze.     Kagura  (imp.).  1855 

3735-  Box  (bird).  L.  3I  in.  Glistening  white  glaze  with 
light  reddish  clouds.     Kagura  (imp.).  1855 

373^'  Tea-pot.  D.  3J  in.  Light  brown  clay,  dull  yellow 
underglaze,  rich  dark  brown  overglaze,  minutely  pitted,  with 
finger  touches  exposing  yellow  glaze  in  spots.     Kagura  (imp.). 

i860 
3737'     Covered  bowl.     D.  sJ  in.     Soft  buff  clay,  vertical  incised  lines,  interspaces  glazed 
dark  green,  red  and  white  alternating.     Kagura  (imp.).  i860 

373°-     Tea-cup.     D.  2^  in.     Modeled  by  hand.     Fine  light  gray  clay,  transparent  glaze. 
Poem  incised.     Nippon  Kagura-oka  Tokuniu  (inc.). 

This  was  identified  as  Kanraku  by  Ninagawa,  and  is  placed  here  pro- 
visionally. 


KANRAKU    (Case  32) 

A  Raku  tea-bowl  bearing  the  mark  Kanraku  ap- 
pears to  be  one  hundred  and  fifty  years  old  at  least. 
Nothing  is  known  about  the  potter.  3739 

3739-     Tea-bowl.     D.  4I  in.     Coarse   Raku  clay,  light  reddish  glaze  with  whitish  tinges. 
Kanraku  (imp.).  I7S** 

The  bowl  is  very  much  worn,  and  the  above  date  is  uncertain. 


0 

3738 


MURASAKINO  (Case  32) 

In  the  early  part  of  this  century  a  potter  by  the  name  of  Gakutei  established  an 
oven  at  the  gate  of  Daitoku  Temple,  where  pottery  was  made  for  a  short  time.  The 
impressed  mark  Miirasakino  was  used.  In  1844  a  new  oven  was  opened  within  the 
temple  grounds,  and  the  work  was  signed  Murasakino,  written  in  a  different  way. 
The  m2ir\iJoraku  was  also  employed. 

374^-     Incense-box    (mountain).     D.  3^  in.     Coarse  light  fawn  clay,  white  glaze  tinged 

with  fawn-colored  spots.     Light  blue  clouds. 

Murasakino  (imp.).  1810 

3741-  Tea-bowl,  squarely  flattened.  D.  4I  in.  Coarse 
light  fawn  clay,  thick  brownish-black  glaze  with  yellowish 
underglaze  showing  through  in  spots.  1844 

Alurasakino  (imp.).  ^740  3741 

RAKU    POTTERY    IN   GENERAL    (Case  32) 

3742-3760.  Various  pieces  of  Raku,  presumably  Kyoto,  of  which  no  record  has  been 
obtained.  These  bear  the  marks  of  Juraku  (3742)  ;  Senzai-raku  (3744)  ;  Nohuyuki  (3745)  ; 
Hachi-ju-ga,  Rakti-o,  and  a  kakihan  (3746)  ;  Sansho  (3747)  ;  GioTun  roku-ju-hachi  sai,  Sojiku 
kore  wo  tsukuru  and  a  kakihan  (3749)  ;  Miikogaoka  tsuc/ii  nite  tsukuru  Hiaku-kiyoku  (3748)  ; 
Kyoto  Shorin-an  ni  oite  tsukuru  (3750*);   Giokuto  (3751*);  Sokichi  and  a  kakihan  (3752); 


CASE    32 


3%'il 


i^ 


J«7? 


S       3  8S-7  **3= 


atjsq 


?^.-^ 


V4  ,-h.$J  V-^T-J  [^-%i  '^^^VJ   \^^^ 


3trbi 


3a3(i 


3  8i'r 


38SO      3V%V 


38V3 


38>i 


3  8r'r7 


3VS8 


as-ii     38rsr<i 

JVSfS  3%¥4 


3Si-V-?*Jf  ;i»i-i    3«<,4-      3S60  3»tl 

3%'i-/ 


3{ri^3 


^-^\\  3«%V 


#K<Hi« 


^fi^'-  S**,"*"      l!li        3*7Z 


JS7(.    3«8fa      3«<.7      3Sfc8         3»{,9  3»fcS-     3%77    i»7«  3S'«3         3«7S-       3%7V  3«7;  3»70 

3fa7) 


3663         366*1        3t6s-    3b(,6       3667 


aOa 


3670       ( 


3677  ^     F^::_"€1S> 
■ — ^'-^^ 


(^WtpS^^3i 


3b7y  3676 


3t7h       Jtao        3bin  3^%i  3683         Sfc^'J    3fc67       368y  368b  368') 


37tO 


3713 

o 


373'* 


(^  33^  f- ^  \i-iz% 


37  3  6-      373  8 


3737 


3733       3T3Z  3T>Z         3131         3730 


11^0  0 

3^8    37ZZ       37.1  37\.        3739  IIH^ 


PROVINCE   OF  YAMASHIRO 


PROVINCE    OF   YAMASHIRO 


267 


Kio  Toraku  (3754*)  ;  Hiaku-kiyoku  (3755*)  ;  Haku  (3756*) ;  kakihan  of  Mitani  Soshiu 
(3757)  >  ^^  (3759)  i  Rtiku  and  Ki  (3760*).  One  object,  said  to  have  been  made  by  Bunkio 
in  ChSniu's  furnace,  is  unsigned. 


3742 


<3 


^7 
•'it  ;1L 


3747 


% 


^ 


w 


3745 


3749 


3755 


dr^ 


3746 


^• 


\% 


3757 


3756 


I* 


3759 


3760 


37  so 


268  THE   CATALOGUE 

KENZAN    (Case  31  and  Plate  XXI.  3765,  3766) 

The  work  of  Ogata  Shinsho,  or  Kenzan,  dates  from  the  latter  half  of  the  seven- 
teenth century  to  the  early  half  of  the  eighteenth  century.  He  died  in  1743  at  the 
age  of  eighty-three.  Kenzan  made  an  enduring  reputation  as  a  potter  and  artist. 
Korin,  an  elder  brother,  was  equally  famous,  as  attested  by  his  lacquer-work  and 
paintings.  In  some  instances  he  decorated  his  brother's  pottery.  (See  Kenzan  ; 
MusASHi.)  No  signature  has  been  so  often  forged  as  that  of  Kenzan ;  and  spurious 
Kenzan  may  be  found  in  every  stock  and  in  every  collection,  not  excepting  the  one  of 
which  this  is  a  catalogue.  Certain  authorities  state  that  there  was  only  one  genera- 
tion of  Kenzan ;  other  authorities  record  a  son  and  a  grandson  who  made  the  same 
kinds  of  pottery  and  used  the  same  signature.  In  Dr.  Frank's  catalogue,  of  his  col- 
lection lent  to  the  Bethnal  Green  Museum  (now  in  the  British  Museum),  is  recorded 
a  water-jar  with  the  signature  Kenzan  Sandai  Bunsei  nensei.  Here  we  have  men- 
tioned Kenzan  third  and  the  year  period  Bunsei  (1818  to  1830).  Ninagawa  records 
six  generations  of  Kenzan,  all,  with  the  exception  of  the  first,  having  lived  in  Yedo. 
If  this  statement  could  be  established  many  pieces  signed  Kenzan,  though  inferior  to 
the  original  Kenzan,  might  be  regarded  as  genuine  and  referred  to  some  of  these 
generations.  I  have  found  it  impossible,  however,  to  make  these  distinctions.  Kenzan 
had  many  pseudonyms.  Among  those  attributed  to  him  are  Kenzan,  Sansho,  Shin- 
sho, Ogata  Sansho,  Shinsaburo  and  Saburo,  Shoko,  Shuseido,  Shisiu,  Reikai,  and 
Toin. 

37^^'     Bowl.     D.  6  in.     Fawn  clay,  transparent  underglaze,  thick  white  overglaze.     Close 
spiral  lines  in  dull  blue.     Saburo  (imp.).  1680 

An  early  mark  of  Kenzan. 

3762.     Deep  cup.      H.  3^  in.     Gray-drab  clay,  grayish  glaze,  broad  brush-marks 

of  white  and  light  blue.     Over-decoration  of  twigs  and  buds  in  brown.      Inside,       iTeT 

similar  decoration.     Unsigned.  1690 

37^3-     Bowl.     D.  4I  in.     Gray-drab  clay,  light  gray  underglaze,  broad  area  of  white  glaze 
upon  which  are  flowers  and  grass  in  brown  and  blue.     Kenzan  (written).  1690 

Type  Ninagawa.     Part  IV.,  Fig.  29. 

37^4-     Tea-cloth  holder.     H.  2^^  in.     Fine  fawn  clay  and  glaze.    Over-decoration  of 
brown  twigs  and  blossoms  in  white  slip. 
Kenzan  (written).  1690 

Type  Ninagawa.     Part  IV.,  Fig.  25. 

37^5-  Box,  irregular  outline,  corresponding  to  design 
on  cover.  D.  4f  in.  Fine  fawn  clay,  rich  light  fawn 
glaze.  On  cover,  picture  of  huts,  water,  boats,  and 
figures  in  dark  and  light  brown  and  blue.  Sides  with 
lattice  design  in  blue.  Inside,  broad  dashes  of  blue. 
Kenzan  (written).  1700  3764  3765 

Type  Ninagawa.     Part  IV.,  Fig.  24. 

A  remarkable  example  of  Kenzan's  work. 


PROVINCE   OF  YAMASHIRO 


269 
Over-decoration  of  leaves  in 


3766 


3766.     Bowl.     D.  4^  in.     Fine  grayish-drab  clay  and  glaze, 
white  and  brown,  leaves  veined  with  light  gray. 
Kenzan  (written).  1700 

Type  Ninagawa.     Part  IV.,  Fig.  28. 

3767-     Raku  bowl.    D.  4i  in.    Thick  and  heavy.     Thick 
black  glaze,  two  flowers  outlined  in  white  glaze.     Inside, 
similar  decoration.   Kenzan,  written  in  black  glaze  on  green-     K 
ish  panel.  1700 

Type  Ninagawa.     Part  IV.,  Fig.  27. 

3768.  Tea-cloth   holder.     H.  3!  in.      I.ight  gray-drab  clay,  gray  underglaze,  exposed 
inside  J   white  overglaze.      Over-decoration  of  conventional  flowers  and 
stems  in  light  brown  with  incised  shading.     Above  and  below,  band  of 
scrolls.     Kenzan  (written).  1720 

Type  Ninagawa.     Part  IV.,  Fig.  26. 

3769.  Bowl.     D.  4I  in.     Signed.  1720 

377°-  Bowl.  D.  44  in.  Fine  brownish  clay,  very  light  fawn  glaze, 
clouded.  Under-decoration  of  chrysanthemums  in  blue  and  brown.  Poem 
and  signature  in  black.     Old  Kiyomizu  style.    Kenzan  (written).        1720 


3768 

377^-     Beaker.      D.  6f  in.     Very  rough  gray-drab  clay,  large  area  of 

thick  brown  glaze  inside  and  out.     Unglazed  portion  with  brush-mark  in  white  glaze,  and 

spiral  marks  in  deep  blue.     Ichi-saka  [.?]  Shokoen  oite  set  (written).  1720 

yjT^-    Square  box.     L.  3^  in.    1760 

3773-  Square  box,  with  beveled  cor- 
ners.    W.  i^  in.     Gray-drab  clay,  gray 
glaze.     Imbricated  scrolls. 
Ken  (written).  1780 

3774-  Box,    hexagonal.      H.    ij    in. 

1780 

377^'  Fire-holder,  square.  H.  4^  in. 
Thick  walls.  Hard  light  fawn  clay, 
nearly  white  glaze  minutely  crackled. 
Over  -  decoration  of  scrolls,  formal 
flowers,  etc.,  in  deepest  olive-brown. 
Kenzan  (written).  '       1780 


3771 


3777*     FiRE-BOWL.     H.  4g  in.    Fine  fawn  clay,  thick  white  glaze  separating  at  base.     Over- 
decoration  of  conventional  flowers  and  leaves  in  olive-brown.     Kenzan  (written)^  1780 
Gift  of  W.  S.  Bigelow. 

3778-  Square  cake-dish.  W.  6  in.  Light  fawn  clay,  transparent  underglaze.  Bands  of 
white  overglaze,  forming  stems  of  bamboo,  shaded  with  blue,  leaves  in  blue  and  olive-brown. 
On  sides,  scrolls  in  brown  and  blue.     Kenzan  (written).  1780 


3779-     Mate  to  last,  with  vigorous  drawing  of  waves.     Kenzan  (written). 


1730 


270 


THE   CATALOGUE 


Blossoms  in  bright 


3780.  Bowl,  vertical  sides.    D.  4J  in.    Japanese  yellow  clay  and  glaze, 
blue,  brown,  and  white.     Kenzan,  Hoyei  tsukuru,  and  ob- 
scure name  (written).  1800 

3781.  Tea-cloth  holder,  open  below.  H.  2^  in.  Fine 
light  gray  clay,  coarse  light  gray  glaze.  Plum  branches 
in  brown  with  white  flowers.     Kenzan  (written).  1800 

Gift  of  Rufus  E.  Moore. 

3782.  Shallow  dish.  D.  5  J  in.  Fine  light  fawn  clay, 
thick  white  glaze,  separating  in  places.  Vigorous  decora- 
tion of  bamboo,  inside  and  out,  in  dark  brown  and  blue. 
Kenzan  (written).  1800 

Gift  of  W.  S.  Bigelow. 

3783'     Deep  cup,  square.     H.  4^  in.     Light  fawn  clay, 
lustrous  black  Raku  glaze.      Plum  blossom  in  thick  white  glaze  with  blue  shading. 
Kenzan  (written).  1800 

Gift  of  Denman  W.  Ross. 

3784*.     Bowl.     D.  7  in.     Kenzan  (written).    Toko  Toto  (imp.). 


MOKUBEI   (Case  31  and  Plate  XXI.  3799,  3800)  3784 

This  potter  attained  great  celebrity  in  the  early  part  of  this  century  in  making  suc- 
cessful imitations  of  Chinese  celadon  and  Oriental  porcelains.  It  is  said  that  he  was 
the  first  one  who  employed  moulds  in  making  tea-pots.  He  used  a  number  of  signa- 
tures. 


3785        3786 


3788 


3790 


3792 


379S 


3804 


3806 


3808' 


3809 


37^5*     Tea-pot.      D.  4  in.     Thin  walls,  dark  drab  clay,  light  gray  glaze.      Band  of  circles, 
stars,  basket-work,  etc.,  in  white  Mishima.     Mokubei  (imp.).  1825 

Type  Ninagawa.     Part  V.,  Fig.  3. 

3786.    Tea-pot.    D.  3I  in.     Moulded.     Light  fawn  clay.     Clouds  in  relief,  glazed  bright 
green.     Interspaces  unglazed.     Cover  and  nozzle  with  purple  and  light  blue  glaze. 


Fawn  clay,  thick  white  glaze. 


Mokubei  (imp.). 

Type  Ninagawa.     Part  V.,  Fig.  5. 

3787-     Tea-cup.      D.  3  in.      Moulded. 

dragons,  etc.,  in  high  relief.     Unsigned. 

Type  Ninagawa.     Part  V.,  Fig.  4. 

3788.     Tea-pot,  similar  to  last.     Mokubei  (imp.), 

3789-3793-     Tea-pots  and  haisen,  signed  Mokubei. 

3794'  3795-     Cake-dish  and  figure.     Celadon  glaze.     Figure  signed  Mokubei. 


1825 

Bands  of  scrolls, 
1825 


1825 
1825 
1825 


3! 

on 


PROVINCE   OF  YAMASHIRO  271. 

3796.     Tea-cup.     D.  2\  in.     Gray-drab  clay,  greenish-olive  celadon  glaze.     Inside,  delicate 
design  of  dragon,  bird,  etc.,  in  relief,  moulded.     Mokubei  (imp.).  1825 

3797*     Tea-cup.     D.  2f  in.     Similar  to  last.     Mokubei  (imp.).  1825 

3798.     Tea-pot,  in  form  of  jewel.     D.  3  in.     Very  fine  light  gray-drab  clay,  unglazed,  pol- 
ished surface  darkened  by  use.     Mokubei  (imp.).  1825 

3799-     Incense-box  (cherry  blossom).    D.  15  in.  Japanese  yellow  clay        "^[^  'T'o 

and  glaze.     Flowers  shaded  in  red  and  gold.  ?|^5?  7^ 

Kokikwan  Mokubei  tsukuru  (written  in  gold).  1825        ijS-  i^  -jfc 

An  exquisite  example.  'S£, 

o  3799  3800 

3800.     Tea-pot,  very   thin  walls.     D.  3I  in.      White    clay  unglazed. 

Figures  of  Chinese  children  at  play,  in  green,  purple,  yellow,  and  blue  enamels,  outlined  in 

black.     Kokikwan  Mokubei  tsukuru  (yiriXi&a).  1825 

A  remarkable  example  of  decoration. 

3801—3807.     Tea-cups,  tea-pots,  cover-rest,  and  furnace  for 
TEA-POT,  variously   signed   Robei  tsukuru 

(written)    (3801),    Robei    Moku   (written)      ^L      «♦     ^      00^    J. 
\l?>02),  Kokikwan  Mokubei {yi\\Xl&ri){j,Zoi),  ^^    o"      '' 

and  Mokubei  (imp.)  (3804,  3806).         1825  3805 

3808.     Bowl,  deeply  notched  at  base.    D.  4f  in.    Thick  and  heavy.     Gray-drab  clay,  light 
grayish -yellow  underglaze,  greenish-blue  overglaze  running. 
Bats  in  blue  and  brown.     Ao  Mokubei  (imp.).  1825 

3809—3814-  Pieces  of  Mokubei  variously  signed  Ao  Mo- 
kubei (imp.)  (3809),  Kwan  (written)  (3810),  Koto  Mokubei  dojin 
tsukuru  (inc.)  (3813),  Mokubei  (imp.)  (3814).  1825 


ASAHI   (Case  34  and  Plate  XXIII.  3815) 

Accounts  vary  greatly  as  to  the  origin  of  the  pottery  bearing  the 
impressed  mark  Asahi.  Records  state  that  it  was  first  made  at  Uji  in 
1624-1644.  Absolute  plainness  of  form  and  glaze  characterize  the 
earlier  work.  Matsubayashi  Chobei,  claiming  to  be  the  fifteenth  genera- 
tion, revived  the  work  in  1852.  The  present  generation,  Matsubayashi  ~  g  ' 
Matsunosuke,  is  the  grandson  of  Ch5bei.  Miserable  imitations  with 
counterfeit  mark  made  by  Zoroku  were  common  in  the  bric-a-brac  shops  of  Japan  in 
1882-1883. 

3815.  Tea-bowl.     D.  5I  in.     Heavy  grayish-fawn  clay  and  glaze,  splashes  of  thick  grayish 
overglaze  running  from  rim,  coarsely  pitted.     Asahi  (imp.).  1640 

Type  Ninagawa.     Part  III.,  Fig.  18. 

3816.  Tea-bowl.      D.  a,\  in.     Thick  and  heavy.     Brown  clay,  olive-gray 
glaze.     Pine  in  dark  gray.     Asahi  {ycap?).  1640 

3817.  Tea-bowl.     D.  4J  in.    Light  straw  clay  and  glaze,  finely  crackled. 
Asahi  (imp.).  1680 


272 


THE   CATALOGUE 


3818.    Tea-bowl.     D.  5J  in.     Fine  gray-drab  clay,  yellowish-gray  glaze  with  grayish  areas. 
Asahi  (imp.).  1 700 

A  beautiful  example,  showing  the  color  of  morning  light  in  the  glaze. 


3818    3819   3820  3821  3823   3824   3826 

3819-3835.     Bowls,  cups,  etc.    All  signed  Asahi,  impressed. 


I 700-1 880 


H, 


%   W 


»3 


3828   3829   3830   3S31    3833   3834 


9 

383s 


ZENGORO   (Case  32) 

A  family  of  potters  famous  in  the  annals  of  Japan  is  that  of  Zengoro.  Nishimura 
Zengoro  is  regarded  as  the  founder  of  the  family.  He  was  a  Shinto  priest  in  Nara, 
and  made  unglazed  vessels  for  offering.  He  died  in  1558.  His  son,  the  second  Zen- 
goro, became  a  potter  and  went  to  Izumi,  and  there  erected  an  oven  and  made  un- 
glazed fire-vessels  {fiiro).  In  the  work  he  showed  great  skill,  and  received  the  sobri- 
quet of  Furo-shi  Zengoro  (Furo-maker,  Zengoro).  The  third  Zengoro  moved  to 
Kyoto  and  continued  the  work  of  furo-making,  beside  that  of  other  utensils  for  the  tea- 
drinkers.  Successive  generations  up  to,  and  including,  the  ninth  continued  as  potters, 
limiting  their  work  to  furo  and  other  fire-utensils,  and  were  famous  for  their  excellent 
pottery.  The  pottery  being  unglazed,  and  of  the  softest  character,  but  little  has  sur- 
vived. Of  these  early  generations  the  collection  possesses  but  one  bowl,  made  by  the 
third  generation,  Sozen,  a  gift  to  the  collection  from  Denman  W.  Ross,  and  an  incense- 
burner  made  by  the  sixth  generation,  Sohin,  presented  by  George  lies.  Collateral 
members  of  the  early  generations  are  represented  in  the  collection  by  the  work  of 
Yokuro  and  Sozaburo  and  Soshiro,  and  these  objects  will  be  catalogued  after  the 
Zengoro  series. 

The  generations  of  the  Zengoros,  with  their  pseudonyms,  are  as  follows :  — 

First  generation         .         .         .         not  known  .         .         died  1558 

died  1594 
died  1623 
died  1655 
died  1698 
died  1 74 1 
died  1744 
died  1769 
died  1779 


Second  generation 

Sozen 

Third  generation 

Sozen 

Fourth  generation 

Soun 

Fifth  generation 

Sozen 

Sixth  generation 

Sohin 

Seventh  generation 

Sojuin 

Eighth  generation 

Soen 

Ninth  generation 

Sogan 

PROVINCE   OF  YAMASHIRO  273 

Tenth  generation      .  .  .  Ryozen  .  ,  .  died     ? 

Eleventh  generation  .  .  H5zen  .  .  .  died  1853 

Twelfth  generation  .  .  .  Wagen  .  .  .  died    ? 

Thirteenth  generation  .  .  Tokuzen 

THIRD   GENERATION,    SOZEN  (Plate  XXII.  3836) 

Sozen  was  the  first  of  the  family  who  established  himself  in  Kyoto, 
made  f  uro  (easily  broken,  as  Ninagawa  adds)  and  also  Raku 
bowls,  bearing  the  incised  mark  Sozen. 

3836.     Tea-bowl.     D.  3!  in.     Light  fawn  clay,  light  red  Raku 

glaze  with  light  yellowish-fawn  areas.     Strongly  crackled. 

Sozen  utsutsu  kore  wo  tsukuruinari  f)  (inc.),  also  kakihan.   1610 

An  object  of  the  greatest  rarity. 

Gift  of  Denman  W.  Ross.  „  , 

3836 

SIXTH    GENERATION,  SOHIN 

This  potter,  representing  the  sixth  generation,  is  said  to  have  baked  at  Nara  in  the 
early  part  of  the  eighteenth  century.     Examples  of  his  work  are  of  the 
greatest  rarity.     The  single  object  in  the  collection,  a  furo,  is  inscribed 
with  his  name  and  his  age  at  the  time  of  making. 

3837*     FuRO,  low  body  with  two  encircling  ribs,  three  short  legs.      D.  5^  in. 
Finest  gray-fawn  clay,  unglazed.     Outside,  polished,  large  jet-black  area  on  one 
side  involving  leg.     Surface  streaked  with  light  red  and  dark  gray. 
Sohin  and  kakihan.     Toshi  roku-ju  san  (inc.),  not  given.  1730 

Gift  of  George  lies. 

Between  this  family  and  the  tenth  Zengoro  the  collection  contains  no  exam-  ^^ 

pies. 

TENTH    GENERATION,   RYOZEN 

This  potter  succeeded  to  the  work  of  his  predecessor,  and  for  a  while  made  fire- 
vessels,  but  afterwards  apprenticed  himself  to  Raku  RiyOniu,  and  while  working  for 
him  discovered  a  peculiar  kind  of  glaze  resembling  certain  Chinese  colors.  Leaving 
Riyoniu  he  began  work  on  his  own  account,  producing  pottery  with  the  new  glazes  of 
purple,  green,  and  yellow  on  a  hard  white  body,  and  these  pieces  bear  the  impressed 
mark  Ryozen. 

3838.  Cylindrical  flower-holder.      H.  sJ  in.      Light  fawn  underglaze  showing  inside, 
purple  overglaze  outside.    Ryozen  (imp.).  1810 

3839.  Candlestick.      H.  8J  in.     Thin  purple  glaze,  fluted  lines  incised  and 
gilded.     Hollow  base  with  yellow  glaze.     Ryozen  (imp.).  1810 

Gift  of  W.  S.  Bigelow. 

3840.  Flower-vase.  3838 
This  evidently  belongs  with  the  same  set  as  the  candlestick.  No.  3839,  having  the  same 

glaze  and  decoration. 
Gift  of  W.  S.  Bigelow. 


274 


THE  CATALOGUE 


384X.  Ash-holder.  D.  8|  in.  Modeled  by  hand.  Black  lacquer  inside  and  out.  Incised 
lines  on  side  gilded.     Ryozeniym^^.  1810 

3842.  Fire-vessel.  D.  4^  in.  Octagonal,  paneled  in  deep  grooves.  Above,  band  of 
panels  enclosing  the  eight  characters.  Surface  black  lacquer.  Grooves  and  characters  gilded. 
Ryozen  (imp.).  1810 

Gift  of  W.  S.  Bigelow. 

ELEVENTH   GENERATION,  HOZEN  =  YEIRAKU  (Plate  XXII.  3843,  3845) 

Hozen  made  great  improvements  on  his  father's  methods,  and  by  his  skill  and 
originality  established  the  world-wide  reputation  of  his  family.  His  pure  blue  and 
white,  his  celadon,  and,  above  all,  his  wonderful  bowls  decorated  in  red  and  gold,  easily 
place  him  in  the  ranks  of  the  great  potters  of  the  world.  His  fame  spread  rapidly,  and 
early  attracted  the  attention  of  the  Prince  of  Kii,  who  invited  him  to  take  charge  of  a 
private  kiln  at  his  castle  grounds  at  Wakayama.  Here,  in  1827,  he  made  pottery 
known  as  Oniwa,  or  Kairakuyen  (see  Kii).  For  these  services  he  received  from  the 
prince,  as  an  honorary  distinction,  two  seals,  one  of  gold  and  the  other  of  silver.  The 
gold  seal  had  upon  it  the  characters  Yeiraku,  and  the  silver  seal  bore  the  characters 
Kahin  Shiriu.  His  pieces  were  usually  signed  with  one  or  the  other  of  these  seals, 
though  sometimes  the  written  characters  Yeiraku  set  appear.     He  died  in  1853. 

3843.  Bowl.    D.  4J  in.    Hard  light  gray  clay,  strong  whitish-gray  glaze,  coarsely  crackled. 
Over-decoration  of  pine,  plum,  and  bamboo  in  blue 
and  green  enamels,  red  blossoms,  and  gold. 
Yeiraku  (imp.).  1825 

Type  Ninagawa.     Part  V.,  Fig.  11. 

3844-  Box.  D.  2f  in.  Fluted  sides,  crab  in  high 
relief  on  cover.  Light  fawn  clay,  hard  dull  white  glaze 
within,  glassy  green  glaze  without.      Crab  glazed  yellow.     Yeiraku  (imp.). 

Type  Ninagawa.     Part  V.,  Fig.  12. 

3845-  Large  bowl.      D.  6J  in.      Hard  white   clay,  dead  red  glaze.     Design  in  gold   of 
scrolls,  mythological  birds,  formal  leaves,  flowers,  etc.,  with  texture  scratched 
with  sharp  point.      Inside,  on  bottom,  white  glaze  with  clouds,  waves,  etc. 
rich  blue.     Dai  Nikon  Konan  Yeiraku  Hozen  tsukuru  (written  in 
blue).  1830 

A  beautiful  example  of  Yeiraku's  "  red  and  gold." 

3846.    Tea-cup.     D.  2^  in.     Similar  to  last,  different  design. 
Dai  Nikon  Yeiraku  tsukuru  (written).  1830 

3847-3853-     Various  examples  of  Hozen's  work  bearing  the 
impressed  mark  Yeiraku. 

3854-  Flower-vase.     H.  7J  in.     Light  buff  and  grayish-black  clays  mixed, 
glazed  surface.    Simple  pointed  leaf  form  incised  around  upper  portion. 
Hozen  (imp.). 

Very  rare  mark. 

3855-  Pox.     D.  31^  in.    Rough  surface.    Shiny  red  lacquer,  heavily  gilded  inside 
and  out.      Yeiraku  and  Kahin  Shiriu  (imp.).  1830 


1830 


3845 
Smooth  un- 


1830 


3854 


PROVINCE  OF  YAMASHIRO 


275 


3856.    Bowl.     D.  4f  in.     Hard  brown  clay,  dull  mottled  brown  glaze, 
Yeiraku  (imp.).     Kahin  Shiriu  (imp.),  inside. 

3857-     Bowl.     D.  4  in.     Roughly  moulded  inside,  vertically  sliced, 
and  glaze.     Flight  of  storks  in  blue  encircling  bowl. 
Kahin  Shiriu  (imp.).     Hozen  tsukuru  (written). 

3858-3861.     Bowl  and  incense-boxes,  signed  Kahin  Shiriu. 
No.  3858,  gift  of  Mr.  Yamanaka. 

3862.  Fire-vessel,  with  handles  and  three  short  legs. 
D.  5I  in.  White  stone  clay,  with  pale  green  celadon  glaze. 
Kahin  Shiriu  (imp.).  1830 

A  remarkable  example  of  Hozen's  work. 

3863.  Low  DISH.  D.  6J  in.  Constricted  in  middle. 
Above  constriction  rich  yellow  glaze,  below  constriction 
bright  green  overglaze  running,  yellow  glaze  showing 
through.  Base  and  inside,  yellow  glaze.  1830 
Yeiraku  (imp.). 

3864-     Bowl,  roughly  hewn  with  knife.     D.  4 J  in. 
Kahin  (imp.). 


1830 

White  porcelain  clay 
1830 

1830 


Light  dead  brown  clay,  light  gray  glaze. 

1830 


TWELFTH   GENERATION,   WAGEN    (Plate  XXII.  3865) 

Wagen  succeeded  to  his  father's  work,  continuing  the  methods,  glazes,  and  the 
mark  Yeiraku,  but  the  productions  of  his  kiln,  while  in  many  instances  showing  great 
merit,  do  not  approach  the  high  character  of  Hozen,  the  great  Zengoro.  In  1853  he 
went  to  Omuro,  and  established  a  kiln  on  the  site  of  Ninsei's  kiln.  Here  he_made  pot- 
tery for  a  while,  and  signed  his  pieces  Omuro  and  sometimes  the  initial  mark  Ouchi-yama 
sei  en.  The  mark  Hatsu  kama  associated  with  Yeiraku  is  also  used.  The  mark  Hatsu 
kama  is  very  rare.  The  work  done  here  was  quite  different  from  his  usual  work  and 
showed  great  taste.  In  1866  he  was  called  to  Kaga,  where  he  made  porcelain  bowls, 
tea-jars,  and  the  like  (see  Kaga). 

3865.  Box.     D.  2  in.     Moulded.     Fawn  clay,  light  fawn  glaze.     Mythological  animals  and 
flames  in  relief,  glazed  brown.      Yeiraku  (imp.).  1850 

3866.  Large  bowl,  perforated  border.     D.  6  in.     Light  fawn 
clay,  rich  green  glaze.     Border  with  rich  brown  overglaze  flecked 
with  white  and  blue  running  and  mingling  with  cream  glaze. 
Yeiraku  (imp.).  1850 

3867.  Heavy  bowl.     D.  4-^  in.     Yeiraku  (imp.).  1850 


386s 


3868.  Tea-pot.  D.  3}^  in.  Moulded ;  fluted  sides.  Fawn  clay,  rich  green  glaze.  Cover 
purple  glaze  with  yellow  knob,  splash  of  purple  glaze  on  under  side  of  cover.  Inside,  white 
glaze  crackled.     Yeiraku  (imp.).  1850 


3869.     Bowl.     D.  3}^  in.     Fawn  clay  and  glaze,  pinkish  tinges.     Yeiraku  (imp.).         1850 


276 


THE   CATALOGUE 


3870.  Hand-warmer,  in  form  of  priest's  wooden  bell,  vigorously  carved.  H.  8|  in.  Coarse 
light  terra-cotta  clay,  areas  of  umber-brown  glaze,  rough  surface.  Wings,  jewels,  and  eyes, 
thick  dull  ochre  glaze  with  greenish  tinges.     Omuro  and  Ouchi-yama  set  en  (imp.).  1853 

Type  Ninagawa.     Part  IV.,  Fig.  16. 

3871.  Bowl.  D.  3I  in.  Light  brown  clay,  gray  glaze. 
Rough  sketch  of  tree  in  olive-brown.   Ouchi-yama  set  en  (imp.). 

1853 

3872.  Shallow  bowl.  D.  5f  in.  Coarse  light  brown  clay, 
very  thick  light  olive-gray  glaze  with  dark  grayish-brown  mot- 
tled area  inside.     Omuro  (imp.).  1853 

Type  Ninagawa.     Part  IV.,  Fig.  15. 

3873-  Shallow  bowl.  D.  6J  in.  Coarse  brown  clay,  olive-greenish  glaze  with  resplendent 
splash  of  rich  brown  glaze  running  into  light  blue.     Omuro  (imp.).  1853 

3874-  Bowl.  D.  4J  in.  Thick  walls.  Coarse  light  fawn  clay,  fawn  glaze  with  splash  of 
olive-brown  glaze  running  into  bluish-white.     Very  coarsely  crackled.     Omuro  (imp.).      1853 

3875-  Dish,  in  form  of  leaf.  L.  5I  in.  Very  light  gray  clay  and  glaze.  Veins  of  leaf 
marked  in  olive -brown.      Yeiraku  and  Ouchi-yama  HatsU  kama  [meaning 

first  kiln]  (imp.).  1853 


THIRTEENTH   GENERATION,   TOKUZEN 

Tokuzen  was  at  work  in  Kyoto  in  1882,  and  to  him  I  am  greatly 
indebted  for  the  information  regarding  the  various  generations  of  the 
family.  His  work,  like  that  of  the  recent  generations  of  many  other 
families  of  potters,  shows  a  marked  deterioration  in  originality  and 
vigor.  The  market  to-day  is  filled  with  counterfeit  pieces  signed  with 
the  marks  Yeiraku  and  Kahin  Shiriu. 

3876.  Flower-holder,  in  the  form  of  a  very  long-necked  bottle,  with 
short  bulbous  body.  H.  loj  in.  Light  fawn  clay,  glossy  white  glaze. 
Encircling  bands  of  brown.      Yeiraku  (imp.).  1870 


387s 


3877*     Bowl.     D.  4^  in.     Hard  stone  clay,  thick  white  glaze  with  rosy  tinge.    Over-decora- 
tion of  quail  and  millet  in  green,  brown,  and  gold.     Around  rim,  inside  and  out, 
band  of  brocade  in  green,  red,  and  gold.      Yeiraku  (imp.).  1870 

3878.    Tea-cloth  holder.     H.  2^  in.     Blue  and  white  porcelain. 

3879-     Bowl.    D.  a^-^  in.    Thick  and  heavy.    Hard  white  stone  clay,  thick  cream 

glaze.     Over-decoration  of  ducks,  grass,  etc.,  in  rich  brown,  white,  and  greenish-blue.     Base 

grooved  at  right  angles.     No  basal  ring.     Yeiraku  (imp.).  1870 


3880.     Holder  for  bamboo  tea -stirrer. 
porcelain.      Yeiraku  tsukuru  (written). 


H.  3A  in. 


Blue  and  white 
1870 


jS  iSJ  *. 

3880 


CASE    33 


30*««,  $071  307S-  385V  30<<5  3076 


30S3    3073    ^   *J^    38S 


3067        3088      30&e> 


306z  7Q«f» 

3067  A.      30S-6     ^~^ 


,     30.^      30^    3060      ^p\  ^"^Y         A      A     n 


30</X  3037  3063 


30'»3  30*r0      303f30V7      |     303*)    ,'  3038  3037    \      3036 


3069 


3070  J^^'S 


3066 


^S^OWU 


30f6         309<r       309?  30&<(         3oai>  307^4         30SO     306<f        305-/  306&         306!> 


SSOS 


3SM 


3<j06  S'tos 


3903 


3S97       3498      3896  3092        3090     309( 


J9S-0 


3<tf£ 


3S5I 


3SSZ 


3.9  •»! 


395-7 


Zlh*, 


PROVINCE   OF   YAMASHIRO 


PROVINCE   OF   YAMASHIRO 


277 


3882.  Beaker.    D.  4I  in.    Light  brown  clay,  thick  gray  glaze,  splash  of  rich  brown  glaze 
inside  and  out.     Around  upper  portion  grass  in  brown, 
blue,  and  white.     Yeiraku  and  Kikutani  (imp.).        1875 

3883.  Wine-bottle.  H.  5^  in.  Light  fawn  clay,  yel- 
low glaze.  About  neck  light  brown  glaze  running.  Over- 
decoration  of  bamboo  in  brown,  green,  white,  and  gold. 
Yeiraku  and  Kikutani  (imp.).  1875 

3884.  Bottle,  with  handle.  H.  sJ  in.  Brown  clay, 
olive-gray  glaze,  rich  brown  overglaze  running.      Yeiraku  and  Kikutani  (imp.).  1875 

3885.  Bowl.     D.  4J  in.     Light  fawn  clay,  greenish-white  glaze  coarsely  crackled  j  thick 
glassy  overglaze.     Over-decoration  of  flowers  in  white  slip, 
with  yellow  centres,  green  leaves.    Kikutani  (imp.).        1875 

3886.  Tea-pot.      D.  3J  in.      Modeled.      Brown  clay  un- 
glazed.      Characters  incised.     Kuritani  (^iva^.).  1875 

3887*.     Bowl.     Saien  (imp.). 

The  bowl  is  built  up  from  a  fragment  which  bears  the  impressed  mark  of  Ninsei,  said  to 
have  been  dug  up  on  the  site  of  Ninsei's  oven. 


3885 


SOSHIRO   (Case  32) 

Matsuke  S6shir5  was  the  second  son  of  Nishimura  Sozen,  the  third 
the  Zengoro  family  (see  Cat.  No.  3837):  Hideyoshi,  admiring  the 
superior  quality  of  his  pottery,  endowed  him  with  the  high-sounding 
title  of  Tenka-ichi  Soshiro  (first  below  heaven).  The  pottery  is  said 
to  date  back  to  the  early  part  of  the  seventeenth  century,  and  exam- 
ples of  his  work  are  extremely  rare.  After  working  in  Kyoto  for  a 
while  he  established  an  oven  in  Yedo,  where  he  made  the  same  kind 
of  pottery.  The  single  piece  in  the  collection  was  identified  by 
Ninagawa  as  an  essay  of  his  Yedo  oven.  The  present  Yeiraku,  how- 
ever, informed  me  that  the  pieces  bearing  the  mark  of  Tenka-ichi 
Soshiro  were  made  in  Kyoto,  but  as  there  are  grounds  for  doubt, 
the  piece  will  be  catalogued  here  provisionally. 


generation  of 


IN 


3888 


3888.     AsH-BASiN.     D.  6|  in.     Buff  clay,  smooth  surface  unglazed.     Fret  impressed  around 
rim.     Tenka-ichi  Soshiro  (im^.).  1640 


SOSABURO   (Case  32) 

This  potter  was  a  younger  brother  of  Soshiro  and  a  pupil  of  Sozen.  His 
work  was  of  the  same  character  as  that  of  his  brother,  and  objects  with 
the  signature  of  Sosaburo  are  of  great  rarity. 

3889.     Jar-shaped  incense-burner.     H.  2-^  in.    Fine  light  fawn  clay,  polished 
surface,  large  black  area  on  one  side.     Sosaburo  (imp.).  1660 


3889 


278  THE  CATALOGUE 

YOKURO   (Case  32  and  Plate  XXII.  3891) 

A  maker  of  unglazed  earthen  fire-vessels,  after  the  style  of  the  first  Zengoro,  was  at 
work  in  Kyoto  in  1573-1591.  He  was  probably  a  collateral  branch  of  the  first  Zengoro, 
and  for  this  reason  the  two  pieces  bearing  his  signature  are  catalogued  here. 

3890.     Hand-warmer,  with  three  legs.    D.  6J  in.     Fawn  clay  unglazed  and 
polished.    Yokuro  i^xa^^.  1580 

3891'    Incense-burner  with  three  legs,  with  silver  cover.     D.  3^^  in.     Light 
fawn  clay,  unglazed,  polished  surface.     Yokuro  (yca^^.  1580 

Gift  of  W.  S.  Bigelow. 

ZENSHIRO    (Case  32) 

A  younger  brother  of  Wagen,  known  as  Zenshiro,  baked  pottery  in  his  brother's 
oven,  and  used  as  marks  Otnuro  and  Toho.  The  work  was  in  good  taste.  Pieces  are 
very  rare. 

3892.     Covered    vessel,    with    looped    handles.      D.    4}    in. 
Light  brown  clay,  olive  -  green  glaze  with  irregular  splash  of  rich 
dark  brown  on  cover.     Under-decoration  of  vine  in  brown. 
Omuro  and  Toho  (imp.).  i860 

3893-    Tea-cup.    D.  2|  in.     Similar  to  last  in  clay  and  glaze, 
undecorated.     Omuro  (imp.).  i860 


18 


3892 


3893 


OMURO   (Case  33) 

It  is  said  that  pottery  bearing  this  mark  was  made  by  Ninsei  in  the  last  period 
of  his  work.  Two  pieces  in  the  collection,  unsigned,  were  identified  by  Ninagawa  and 
other  experts  as  Omuro,  and  are  here  catalogued  under  that  name.  The  work  is 
refined  and  bears  the  impress  of  age. 

3894*     Deep  bowl.    D.  5  in.    Fine  gray-drab  clay  and  glaze.    Around  upper  portion  maple 
leaves  in  bright  blue,  touched  with  white.  1680 

3895'     Incense- BOX.     D.  2g  in.    Fawn  clay,  transparent  underglaze;  thick  green  overglaze 


with  small  round  interspaces  on  cover  spotted  with  blue  and  red. 


1680 


OTOWA    (Case  Z2,  and  Plate  XXIII.  3898) 

In  the  middle  of  the  seventeenth  century  potters  were  at  work  under  the  guidance 
of  Ninsei  in  making  bowls  for  tea-drinking.  These  were  severe  though  refined  in  taste 
and  decoration. 

3896.    Tea-bowl.     D.  5  in.     Japanese  yellow  clay  and  glaze, 
in  brown.     Otowa  (imp.).  1660 

3897-  Bowl.  D.  4 J  in.  Fine  gray-drab  clay,  nearly  white 
glaze,  coarsely  crackled.  Over-decoration  of  brush  fence,  leaves 
and  flowers  in  red  and  black  with  green  and  blue  enamels  touched 
with  gold.     Otowa  (imp.).  1660 


Slight  decoration  of  plants 


3896 


PROVINCE   OF  YAMASHIRO 


279 


3898.  Cup,  rounded  below.  D.  2-f^  in.  Fine  grayish-brown  clay,  very  light  gray  glaze. 
Rim  brown,  showing  cloud  outline  on  side,  and,  just  below,  scalloped  looped  band  in  blue. 
Otowa  (imp.).  1660 

An  exquisite  example  of  Otowa. 

3899-  Tea -BOWL.  D.  4I  in.  Fine  Japanese  yellow  clay  and  glaze  minutely  crackled. 
Slight  decoration  in  olive-brown.     (Unsigned.)  1660 

The  two  following  specimens  were  identified  by  Ninagawa  as  Otowa.     (Case  28.) 

3900-  WiNE-BOTTLE,  doublc  gourd-shapcd,  with  deep  constriction  between  the  two  bulbs. 
H.  10  in.  Thin  walls.  Nearly  white  glaze.  Pine,  bamboo,  and  plum  blossoms  in  rich  blue 
and  green  enamels,  touched  with  gold.  1660 

3901-  WiNE-BOTTLE,  double  gourd-shaped.     H.  11 J  in.     Similar  to  last.  1660 

KENTEI   (Case  33) 

This  potter  baked  in  Gojosaka  within  forty  years.  Previous  to  that  time  he  had 
an  oven  in  Otowa,  and  his  work  at  this  place  was  signed  with  the  impressed  marks 
Otowa  and  Ken,  rarely  Kentei.  He  made  incense-burners,  tea-pots,  and  vessels  for 
holding  hot  water.  These  were  made  of  fine  white  clay,  very  soft,  and  were  decorated 
on  an  unglazed  surface  with  vitrifiable  enamels.  This  work  was  commonly  known 
under  the  general  name  of  Kentei.  Other  forms  of  a  widely  different  character,  and 
signed  Ken,  are  supposed  to  be  the  work  of  Kentei  in  the  Otowa  oven. 

3902.     Tea-bowl.     D.  5f  in.     Brown  clay,  warm  gray  glaze,  broad  brush-marks  of  white 
outside.     Bands  of  stars,  flowers,  etc.,  in  white  Mishima  in- 
side.    Ken  (imp.).  1850 


1  m 


3902 


3903 


3908 


3903*    Oblong  cake-dish.     L.  9J  in.    Thick  and  heavy, 
rim  cut.     Coarse  gray-drab  clay,  gray  glaze.      Broad  brush- 
mark  of  thick  white  glaze,  inside  and  out.     Rim  olive-brown. 
Ken  (imp.).  1850 

3904.  Cake-dish,  outline  of  peach.     D.  6J  in.     Coarse  gray-drab  clay,  gray  glaze  spotted 
with  brown.     Two  broad  leaves  inside  in  brown  and  olive-brown.     Ken  (imp.).  1850 

3905.  Fire-vessel,  melon-shaped,  with  perforated  cover.  H.  5f  in.   Nearly  white  clay,  deep 
yellowish  glaze.     Roughened  surface.     Otowa  and  Ken  (imp.).  '    1850 

3906.  Tea-pot.     D.  3f  in.     Fine  light  drab  clay  unglazed,  polished  surface. 
Six  "  No  "  dancers  in  rich  enamels.     Otowa  and  Ken  (imp.).  1850 

3907*     Tea-box.     H.  2J  in.     Soft  nearly  white  clay,  thick  salmon  glaze.         Va 
Bands  of  broad  cloud-marks  in  black.     {Otowa  written).  i860 

390o-     Tea-box.     H.  2J  in.     Japanese  yellow  clay,  bright  yellow  glaze 

with  green  spots,  irregular  splashes  of  purple-brown  overglaze. 

Ken  (imp.).  i860 


i 

3907 


3905 


28o  THE  CATALOGUE 

KUHEI    (Case  li) 

Unglazed  pottery  with  decoration  of  bright-colored  enamels,  identical  in  every  way 
with  the  work  of  Kentei,  bears  the  impressed  mark  Kuhei.  This  pottery  has  been 
made  in  Otowa  within  thirty  years.     An  older  Kuhei  was  of  the  time  of  NinseL 

3910-    Tea-pot.     D.  4^  in.     Fine  light  gray  clay,  unglazed,  smooth  surface.     Figures  in 
blue,  purple,  and  white  enamel,  touched  with  red.    Kuhei  z.v\A  Otowa,  Ken  (imp.).  1850 

3911.  Furnace  for  tea-pot,  cylindrical.  H.  9J  in.  Walls  very 
thick,  resting  on  three  short  square  supports.  Lightest  fawn  clay, 
unglazed.  Smooth  surface  profusely  decorated  with  flowers  in  col- 
ored enamels  outlined  in  black.     Kuhei  and  Ken  (imp.).  i860  3910 

MAKUDSU  (Case  34) 

The  records  that  I  had  collected  from  Ninagawa  and  others  are  abandoned  for 
more  exact  information  which  has  been  derived  from  the  work  Toki  Shdski.  In  this 
it  states  that  Miyakawa  Yukansai,  the  founder  of  the  family,  made  Raku  pottery  in 
1 596-1614  in  the  enclosure  of  the  Buddhist  temple,  Chion-in,  Awata,  Kyoto.  From 
this  the  record  jumps  to  the  ninth  generation,  Miyakawa  Chobei.  He  became  sick  in 
1856,  and  did  not  leave  his  bed  until  his  death  in  i860.  The  tenth  generation, 
Miyakawa  Chozo,  studied  Ninsei  style  and  taught  pottery-making  in  Yedo  for  a  while, 
having  for  pupils  several  feudal  nobles,  among  whom  were  Shimadzu  and  Sendai 
After  this  he  went  back  to  Kyoto  and  studied  under  Mokubei  for  five  years.  He 
moved  to  Makudsu  Hara,  Gion,  Kyoto,  called  himself  Makudsu  Niudo,  and  made 
mostly  tea-utensils,  which  were  much  admired.  In  1851  he  was  given  the  pseudonym 
Kozan,  and  also  the  name  Makudsu.  The  eleventh  generation,  Miyakawa  Kozan 
Toranosuke,  who  was  born  in  1843,  succeeded  his  father  in  i860.  He  made  tea- 
utensils  in  imitation  of  old  potteries.  In  1868  he  went  to  Mushiage,  Bizen,  leaving 
the  charge  of  his  own  oven  in  Kyoto  to  his  younger  brother,  Masashiro.  After  two 
years'  stay  in  Bizen  he  came  back  to  Kyoto,  but  in  1 870  he  left  Kyoto  in  order  to 
establish  himself  permanently  in  Yokohama. 

The  present  Makudsu  in  Yokohama  made  for  a  time  monstrous  pieces  of  Satsuma 
with  gorgeous  decoration,  and  these  were  sent  abroad  in  large  quantities.  At  present 
he  is  making  most  beautiful  work  in  hard  porcelain  clay,  with  striking  glazes  and 
imitations  of  "peach-blow"  and  other  Chinese  forms.  He  has  justly  established  a 
world-wide  reputation  for  his  marvelous  productions.  From  information  obtained 
from  Mr.  Hanabusa,  Makudsu's  work  in  Mushiage  dates  back  to  1840,  and  therefore 
I  am  inclined  to  believe  that  pieces  of  fair  age  signed  with  the  same  mark  that  was 
used  on  the  Mushiage  work  represent  the  tenth  generation  of  the  family. 

TENTH    GENERATION,    MIYAKAWA    CHOZQ 

3912.  Tea-bowl.     D.  4I  in.     Brown  clay,  light  gray  glaze,  thick  lighter  gray  overglaze 
running  from  rim.     Figure  in  brown.     Makudsu  (imp.).  1840 


PROVINCE   OF  YAMASHIRO  281 

39^3-  Incense-box  (pheasant).  L.  4J  in.  Nearly  white  clay  and  glaze,  rich  dark  brown 
and  golden-brown  overglaze  flecked  with  blue.    Makudsu  (imp.).  1840 

3914'  Tea-bowl.  D.  4J  in.  Coarse  light  brown  clay  containing  white  granules,  splash  of 
gray  underglaze  on  one  side  with  thick  bluish-white  overglaze.  Under-decoration  of  bamboo 
in  dark  brown.  Over-decoration  of  leaves  in  green  enamel  touched  with  gold.  Thin  rod  in 
blue  enamel.     One  half  of  bowl  unglazed.     Makudsu  (imp.).       1840 

A  beautiful  example  of  Makudsu's  work.  * 

3915.  3916.     Bowls.     Makudsu  (imp.).  -^ 

3917  .     Tea-bowl.     D.  4^  in.     Birds  in  various  colored  enamels. 

Makudsu  (yca^).  1840         39iS       39i6         39i7 

3918.  Incense-box  (goose).  H.  3jin.  Yellowish-white  clay,  thick  white  glaze,  beak,  eyes, 
and  feet  in  brown.     Makudsu  (imp.).  1840 

RENGETSU   (Case  34) 

Rengetsu,  a  woman  potter  of  Kyoto,  acquired  some  fame  for  her  work,  which  was 
modeled  by  hand.     It  dates  from  18 30- 1860.     The  pieces  are  in  the  form  of  bowls, 
tea-pots,  and  wine-bottles.     On  the  sides  of  the  pieces  are  in- 
cised lines  of  poetry.     She  died  in  i860  at  the  age  of  seventy- 
five.     Her  successor  is  in  feeble  health,  and  makes  but  little 
pottery. 

FIRST   GENERATION 

3919'     Bowl.     D.  4  in.      Hard   nearly  white   stone  clay,  thick 
grayish-white  glaze.     Flowers  and  inscriptions  in  grayish-blue. 
Rengetsu  (written).  ^  1840  39'9  392° 

A  unique  form  of  Rengetsu's  work. 

3920.  Fire-bowl.  D.  34  in.  Three  short  legs,  adherent  rings.  Rough  fawn  clay,  thick 
Japanese  yellow  glaze  with  splash  of  lighter  overglaze.     Rengetsu  and  poem  (inc.).  1850 

3921.  Tea-pot.     Brown  clay  and  thin  brown  glaze.     Rengetsu  and  poem  (inc.). 

1850 

3922.  Plate.     D.  5^  in.    Moulded  in  form  of  lotus  leaf.     Under  side  unglazed. 
Inside,  yellowish-white  glaze.    Poem  and  Rengetsu  (inc.).    Riokozan  (imp.).     1850 

3923)  3924*     Wine-boitle  and  incense-box.     Rengetsu  (inc.). 


SECOND    GENERATION 


3925.     Large  bowl.     D.  9  J  in.    Coarse  fawn  clay,  greenish-gray  glaze. 
Rengetsu  (inc.).  1880 


I 


3922  3925 


MIKI    (Case  34) 

A  pottery  known  in  Kyoto  as  Miki  was  made  in  1874.  The  tea-pots  were  of  brown 
clay  unglazed,  manipulated  without  the  use  of  the  lathe  and  of  very  peculiar  forms. 
The  work  is  very  rare. 


282 


THE   CATALOGUE 


3926.    Tea-pot.     D.  2J  in.     Fine  fawn  clay,  outside  unglazed,  transparent  glaze  inside. 
Miki  konomi  (imp.).  1874 

3927-     Tea-pot.     D.  2^f  in.     Outside,  blistered  and  unglazed.    In- 
side, olive-green  glaze.    Kyogoku  Shijio  ju  Miki  Raiki  Toseizan  (imp.). 

1874 


3926 


OTAFUKU-AN   (Case  34) 

The  work  of  this  potter  is  known  as  Daigo  pottery,  from  its 
place  of  baking  in  Kyoto.  The  pieces,  after  the  style  of  hand- 
made Banko  pottery,  only  far  more  delicate,  consisted  of  diminutive 
plates  and  tea-pots.  In  the  walls  of  the  tea-pots  were  inserted  translu- 
cent fragments  of  quartz,  and  in  the  hollow  knob  of  the  cover  in  the 
form  of  an  acorn  were  little  pebbles,  which  rattled  when  the  cover  was 
shaken.  The  work  dates  back  to  1830.  A  second  generation  continued 
to  1855.     Objects  are  extremely  rare. 

392S-     Tea-pot.     D.  2\  in.     Very  thin  walls.     Gray-drab  clay  unglazed.     Minute  dots  im- 
pressed upon  surface.    Handle  with  perforated  design.    Acorn  knob  on  cover  contain- 
ing free  granules.     Two  pieces  of  quartz  inserted  in  side.     Otafuku-an  (imp.).     1840 

3929-  Tea-pot,  square.  D.  2f  in.  Body  made  from  single  sheet  of  clay,  and  folded 
into  shape.  Fine  gray-drab  clay.  Acorn  knob  same  as  last.  Cloth-mark  impression 
below.     Otafuku-an  (imp.).  1840 

3930.  Five-cornered  plate.  D.  3J  in.  Gray-drab  clay.  Cloth-mark  impression 
inside.     Rude  design  incised.     Otafuku-an  (imp.).  1840 


KURIHARA   (Case  34) 

This  pottery,  in  the  form  of  little  incense-boxes,  turtle-shaped,  moulded,  and  glazed 
a  bright  yellow  or  light  purple,  vras  made  in  Okazaki  village,  near  Kyoto,  in  i860. 

393^'     Incense-box.     H.  iJ  in.     Fluted  sides,  cover  in  form  of  turtle.     White  clay,  bright 
yellow  glaze.     Kurihara  (imp.).  i860 

3932.     Incense-box,  same  as  last,  with  purple  glaze. 
Kurihara  (imp.).     Bandai  lyeko,  incised  on  under  side  of  cover. 

i860 
KAMESUKE  (Case  34) 

This  potter  was  a  pupil  of  the  famous  Yeisen.     A  small 
beaker  in  the  collection  having  thick  walls  and  clear  mellow 
celadon  glaze  was  identified  by  Ninagawa  as  Kamesuke's  work.     But  few  records  are 
extant  concerning  this  potter,  nor  do  I  know  whether  he  signed  his  pieces. 

3933-     Beaker.      D.  3J  in.     Walls  thick  and  solid.     Hard  white  stone  clay,  thick  green 
celadon  glaze,  very  coarsely  crackled.     Unsigned.  1780 


3931 


3932 


PROVINCE   OF  YAMASHIRO  afl^ 

RANTEI  (Case  34) 

A  potter  signing  his  work  Rantei  and  making  delicate  tea-pots  decorated  in  rich 
red  and  other  colors,  and  other  forms  resembling  Banko,  was  at  work  in  Kyoto  in  1 865 
or  thereabouts. 

3934-     Tea-pot.      D.  33  in.     Finest  white  clay,  surface  unglazed,  band  of  thick  white  glaze 
about  rim.     On  body  broad  band  in  red  bordered  with 
scrolls  and  frets   touched  with   gold.      Dragon   in   panel 
touched  with  gold  on  unglazed  surface.     On  handle  and 
nozzle  four-lobed  figure  in  thick  white  glaze.    Rantei  (imp.).        ^        «'^> 

x86s       %       V 


3935-  Tea-pot.     H.  s|  in.     Moulded.      Bail  of  lotus 
stems  with  lotus  leaves.     Cover  modeled  in  form  of  lotus 
leaf.     Very  light  fawn  clay,  nearly  white  glaze  with  light 
pinkish  areas.     Lotus  leaves  and  flowers  deeply  impressed      3934        393^  393S 
on  side.    Rantei  Sen  tsukuru  (imp.).                               1865 

Gift  of  W.  S.  Bigelow. 

3936-  Traveler's  wine-cup.      D.  if  in.     White  clay  and  glaze.     Vertical  brush-marks 
with  encircling  bands,  above  and  below,  in  indigo-blue.     Rantei  (written).  1865 

3937*'     Tea-pot.    H.  5I  in.   Delicate  walls.    Finest  light  gray  clay,  unglazed.    Deco- 
ration of  Kiyomizu  temple  in  red  and  gold  with  white  blossoms.     Band  of  diaper  in 
red.     Ornamental  bands  of  flowers  in  red  and  white  around  rim  and  on  cover. 
Rantei  (imp.).  1865     "j 

Gift  of  W.  S.  Bigelow.  3937 


f 


TOTEI   (Case  34) 

Two  pieces  of  pottery  in  the  collection  bear  the  impressed  mark  Tdtei.  They  show 
some  skill  in  moulding,  and  one  piece  resembles  a  coarse  form  of  Awata.  No  informa- 
tion is  at  hand  regarding  the  potter. 

3938.     FiRE-BOWL,  on  three  legs.    D.  4I  in.     Moulded  in  three  petals  below.     Light  yellow 
clay,  transparent  underglaze,  green  overglaze.     T^tei  (imp.).  1865 

3939-     Wine-cup,  in  form  of  long-nosed  mask,  with  support  below  in  form 
of  "  modest  girl "  mask.     Cup,  d.  3!  in.     Japanese  yellow  clay  and  glaze. 
Face  outlined  in  red  and  purplish-brown.     Black  hair  on  lower  face. 
lotei  (written).  1865 

FUKUROYAMA   (Case  30) 

A  single  piece  in  the  collection  signed  Fukuroyama  indicates  the  work  of  a  very 
skilful  artist.     Nothing  is  known  regarding  the  potter  or  the  oven. 


284 


THE   CATALOGUE 


3940.  Globular  water-holder,  opening  below.     D.  5J  in.     Dragon  handle,  long  spout. 
Light  fawn  clay,  light  gray-drab  glaze.     Fret  in  light  olive-brown.     Scrolls  in 
light  blue.     Fukuroyama  (written).  1800 

HATAYETA   (Case  33) 

A  soft  unglazed  pottery  in  the  form  of  shallow  dishes  for  offering  was 
made  by  Kitayama  at  a  place  called  Hatai,  five  miles  northeast  of  Ky5to. 

3941.  Two  PLATES.     D.  s  in.  and  3;*^  in.  respectively.     Modeled  by  hand,  the 
larger  one  with  basal  ring.     Soft  light  fawn  clay,  unglazed.  1870 

Type  Ninagawa.     Part  IV.,  Fig.  36. 

These  two  plates  varying  in  size  were  figured  under  one  number  by  Ninagawa. 


3940 


KOYEMON   (Case  34) 

Pieces  by  the  original  Koyemon  are  said  to  be  extant,  showing  that  in  1536  he 
impressed  the  date  of  making,  with  his  name.  Other  records  state  that  the  original 
Koyemon  never  signed  his  pieces.  He  lived  at  the  gate  of  T5fukuji  on  the  Fushimi 
road,  and  was  famous  for  his  little  figures  and  pup- 
pets. These  were  painted  in  various  colors  and  gold. 
Specimens  in  the  collection,  though  bearing  the  name 
Koyemon,  are  probably  spurious. 

3942.  Two  FIGURES  ADHERENT.  H.  i\  in.  Moulded. 
Soft  light  fawn  clay,  faces  unglazed.  Drapery  in  red 
and  black.    Ningioshi  Koyemon  Kd  (written  in  slip). 

Date  uncertain 

3943-     Female  figure.     H.  6J  in.     Moulded.     Soft 
light  fawn  clay ;  black,  red,  and  gilt  on  surface. 
Tofukuji-Monzen  Ningioshi  Koyemon  tsukuru  (in  relief). 

Date  uncertain 


3942 


3943 


SUMIZOME   (Case  33) 

A  curious  fire-vessel,  in  the  form  of  a  coiled  rope,  is  said  to  have  been  made  in 
Fujimi  in  the  last  century. 

3944.     Fire-vessel  (coiled  rope).     H.  3^  in.     Thick  and  heavy.     Fine  light  fawn 
clay,  thick  light  bluish  overglaze.     Coarsely  moulded.     Sumizome  (imp.).  i7S° 

UDZURAYAMA  (Case  33) 


1 

3944 


Within  recent  years  a  cheap  kind  of  soft  pottery  with  bright-colored  glazes  has 
been  made  in  Fukakusa. 

3945'  FiRE-vESSEL,  on  three  legs.  H.  4I  in.  Thick  looped  handles.  Fluted 
margin.  Very  light  fawn  clay,  bright  green  glaze.  Scrolls  and  formal  leaves 
incised.      Around  rim  the  eight  characters  in  relief.      Udzurayama  (imp.). 

Recent        3945 


PROVINCE   OF  YAMASHIRO 

3946.     Fan-shaped  plate.     D.  9J  in.     Light  fawn  clay,  dull  ochre  glaze  below, 
large  areas  of  white,  red,  and  bright  green  glaze.     Outline  of  Fuji  in  brown. 
Udzurayama  and  Fukakusa  (imp.).  Recent 


MATSUMOTO   (Case  zi) 

In  the  latter  part  of  the  eighteenth  century  Gosa- 
buro  Matsumoto  made  unglazed  fire-vessels  at  Fuka- 
kusa. Up  to  within  thirty  years  the  name  Matsumoto 
still  continued,  as  seen  on  fire-vessels  covered  with 
red  or  black  lacquer,  and  on  pottery  tripods  (gotoku) 
to  support  the  kettle  over  the  coals.  Similar  pottery 
bearing  the  impressed  marks  Fukakusa  and  Ichigo  are 
found,  but  whether  these  are  made  by  one  of  the 
Matsumoto  family  has  not  been  ascertained. 


*8S 
Inside, 


3947 


3947-     Furnace,  for  boiling  water  for  the  tea -ceremony,  supported  on  three  short  legs. 

H.  6  in.     Thick  walls.     Fine  light  fawn  clay,  rich  red  lacquer  inside  and  out. 

Fukakusa  and  Matsumoto  (imp.).  1850 

3948.    Water-jar.    H.  6  in.    Thick  walls.    Soft  terra-cotta  clay  with  buff  surface  unglazed. 
Fukakusa  and  Ichigo  (imp.).  i860 

(5^ 

FUKAKUSA   (Case  12,) 

The  general  name  Fukakusa  is  applied  to  pieces  of  pottery  unglazed 
or  lacquered  bearing  various  marks.  Whether  these  marks  indicate 
separate  potters,  or  whether  they  belong  to  the  Matsumoto  family,  is  ^^'^^ 

not  known.     For  the  present  they  will  be  grouped  under  the  general  name  Fukakusa. 


5^ 


3949 


3949-    Three-legged  support  for  iron  kettle. 
Fukakusa  and  Shinsai  (imp.).  i860 

3950.  Flower -HOLDER.  H.  gf  in.  Irregular 
form,  probably  made  to  represent  excrescence  on 
tree.  Coarse  brown  clay  resembling  rusty  cast 
iron.  Roughly  modeled  by  hand,  successive  ir- 
regular scales  pressed  on  by  the  fingers.  A  most 
ungainly  object.  Fukakusa  no.  Hana  (inc.).  1830 
Gift  of  W.  S.  Bigelow. 

395^-  Furnace,  for  boiling  water.  D.  ^\  in.  Three  short 
legs.  Thick  walls.  Fine  fawn  clay,  bright  red  lacquer  inside 
and  out.     Seiwodd  (imp.).  i860 

CHOKYO  (Case  33) 

A  potter  signing  himself  Chdkyu  made  among     |d3;| 
other  objects  soft  Raku  pottery  in  the  form  of  a 
stand.    The  word  Heian  in  the  signature  is  the 
old  name  for  Ky5to.  39S« 


D.  4i  in.      Soft  light  clay  unglazed. 


4 


y^ 


f 


39SO 


286 


THE  CATALOGUE 


3952.     Stand.     L.  SJ  in.     Scalloped  outline,  perforated  top.     Light  fawn  clay  and  glaze. 
Upper  surface  green  overglaze,  yellow  glaze  on  side.     Leaves  and  scrolls 
incised.     Heian  Chokyu  tsukuru  (imp.).  1850 

3953-3956-  The  following 
pieces  have  probably  been  made 
in  Fukakusa,  though  no  informa- 
tion has  been  obtained  in  regard 
to  them.  These  consist  of  a  fig- 
ure, a  charcoal-basket,  a  furnace, 
and  a  hand-warmer,  and  bear 
respectively  the  signatures  Kan 
(3953).  Ryukengo  (3955),  Semba 
(3956),  and  one  mark  not  made 
out. 


39S3 


39SS 


3956 


3952 


FUSHIMI  (Case  33) 

An  unglazed  bowl  of  light  clay  with  red  wash  of  glaze  about  the  rim  was  made  in 
Fushimi  in  1 780.     Nothing  is  known  about  the  potter. 

3957-     Bowl.     D.  3IJ  in.    Thick  walls.    Light  pinkish-white  clay  unglazed,  reddish  stain 
on  rim.  > 


1780 


3958-3963  (Case  34).  The  following 
pieces  are  identified  by  Japanese  experts 
under  the  generic  name  of  Fushimi.  They 
bear  respectively  the  marks  Jozan  tsukuru 
(3958).  Jozan  (3959),  Kyukyu-b  (3960*), 
and  Yutokusai  (3962). 


39S9 


JOSHIRO    (Case  28) 

A  large  double  gourd-shaped  jar  with  gray  glaze  and  simple  white  Mishima  decora- 
tion signed y"^j/«2>w  is  said  to  have  been  made  in  Kyoto  in  1850.  The  work  of  this 
potter,  judging  by  the  single  specimen  in  the  collection,  has  no  special  merit. 

3964*     Double  gourd -shaped  jar.      H.  8  in.     Light  buff  clay,  warm  olive -gray 
glaze.     Scrolls  and  flowers  in  white  Mishima.    Joshiro  (imp.).  1850     in 


TOSA  (Case  30) 

A  potter  who  is  still  at  work  in  Gojosaka  learned  his  art  of  the  Rokubei  family. 
He  follows  typical  Kiyomizu  style,  and  much  of  his  work  shows  taste  and  origi- 
nality. 


PROVINCE   OF  YAMASHIRO  287 

3965-    Tea-pot.    D.  2|  in.     Yellowish-white  clay  and  glaze.    Rough  design  of  flowers  in 
brown  and  blue.     Tosa  (imp.).  1877 

3966.     Bowl.     D.  4}?  in.     Light  fawn  clay  and  glaze.  1877      ^¥^ 

3967-     Wine-bottle.    H.  sJin.    Light  brown  clay,  light  gray  under-      A 

glaze,  deepest  brown  overglaze  running  from  neck.     Blossoms  and 

dots  in  white  slip.     Tosa  (imp.).  1880      3965  39<^7 

3968.  Jar.     H.  5^  in.     Light  brown  clay,  dark  brown  mottled  glaze,  thick  bluish-white 
overglaze  running.     Tosa  (imp.).  1885 

GOJOSAKA   (Case  34) 

The  term  Gojosaka,  like  that  of  Kiyomizu,  includes  a  variety  of  pottery  which, 
though  puzzling  to  the  foreigner,  seems  to  be  easily  recognized  by  the  Japanese  expert. 
Gojosaka  is  a  district  in  Kyoto,  where  in  the  early  part  of  the  seventeenth  century  a 
rough  pottery  was  made.  In  the  early  part  of  the  eighteenth  century  potters  from 
Otowa  came  to  this  district,  and  a  little  later  a  number  of  Kiyomizu  potters,  some  of 
them  c[uite  skilful,  moved  to  this  place.  The  diversity  in  the  pottery  may  possibly  be 
accounted  for  by  the  above  facts. 

3969.  Tea-bowl.     D.  3J  in.    Thick  and  heavy.     Brown  clay,  gray  glaze.     Stars,  leaves, 
characters,  circles,  lines,  etc.,  in  white  Mishima.  1750 

Type  Ninagawa.     Part  IV.,  Fig.  35. 

3970.  Tea-bowl.     D.  3 J  in.     Similar  to  last.  1780 

397^'    Jar,  with  lion-head  knobs.     H.  7  in.     Same  as  No.  3969.  1780 

3972*     Bowl.      D.  3J  in.      Irregular  rim.      Reddish-fawn  clay,  buff  glaze. 

Circles  enclosing  characters  and  cross-lines  incised  in  white  Mishima.  C^)       ®» 


i?8o      ^       0vli 

3975~3983-    Various  pieces  of  GojOsaka.  ^^  „ 

Koi  (3982*).     Ryazan  Denkaku  shi  (3983*).  1830-1860 

The  three  following  pieces  are  evidently  Gojosaka.     The  potters  are  not  known, 
and  the  pieces  have  no  special  interest. 

3984.  Gourd-shaped  wine-bottle,  roughly  shaped.    H.  6J  in. 
Toto  (imp.).    Gountei  saku  (written).  1840 

3985.  Tea-bowl.    T^"^  (written).  1840  ^\* 

3986.  Compartment  box. 
Kensai  (written).  i860 


^% 


4.^ 


T-  'C 


SHUZAN   (Case  34) 

Two  pieces  of  pottery  bearing  the        ^^^  ^  ""^  3^8^ 

impressed  mark  Shuzan  have   been 

made  within  recent  years,  possibly  in  G(^osaka.     The  pieces  show  the  work  of  a  pro- 
fessional potter. 


288 


THE   CATALOGUE 


3987.  Wine-bottle,  bird  form.     H.  6|  in.     Gray-drab  clay  and  glaze.     Neck  deep  brown 
glaze.     Wings  touched  with  brown  on  white  surface.     Shuzan  (imp.).  1870 

3988.  Jar.     H.  2j  in.     Fine  gray-drab  clay,  thick  white  glaze.     Chrysanthemums 
in  relief,  gray-drab  in  color,  olive-brown  leaves.     Shuzan  (imp.).  1870 

3988 

RAIZAN    (Case  34) 

.  A  hard  pottery  in  the  form  of  a  bird-shaped  incense-box  bears  the  impressed  marks 
Raizan  and  Nanzenji.  At  the  foot  of  the  hills  near  Awata  stands  the  temple  Nan- 
zenji.  Whether  the  pottery  was  made  near  the  temple,  or  made  elsewhere,  and  sold  as 
souvenirs  at  this  place,  has  not  been  ascertained. 

3989.  Incense-box,  bird  moulded.     L.  2\  in.     White  stone  clay,  transparent  glaze  inside, 
bright  green  glaze  outside.     Nanzenji  and  Raizan  (imp.).  1870 


MASATOMO 

3990*.    Tea-pot,  modeled  by  hand,  unglazed. 
Masatomo  (imp.). 

KINCHOZAN   (Case  34) 


1850 


399^-     Tea-pot.     D.  3J  in.     Brown  clay,  large  panels 
of  figures,  trees,  etc.,  in  high  relief  moulded  and  un- 
glazed.    Remaining  surface  deep  blue  glaze. 
Kinchozan  Tokubei  (imp.).  i860 

This  has  no  resemblance  whatever  to  Cat.  No.  3246,  though  there  is  a  chance  that  it  may 
have  been  made  by  the  same  potter. 


The  following  pieces  are  evidently  Kyoto.     No  information  has  been  obtained  in 
regard  to  the  potters  or  ovens  which  they  represent. 

399^  —4008.  The  following  pieces,  evidently  made  within  thirty  years,  and  consisting  of 
a  variety  of  objects,  have  been  variously  attributed  to  Kyoto  and  its  environs.  No  informa- 
tion has  been  obtained  in  regard  to  the  potters  whose  signatures  they  bear,  as  follows : 
Kanki-iei  (3992*),  Seki  (3993*),  Goshotei  and  Kichibei  (3994),  Yugai  kore  wo  tsukuru  (3995), 
Koko  (3996*),  Tosen  (3997),  Nobtttada  (3999),  Kochi  set  (4000),  Gagi  {/^ooi*),  Kizen  (4002), 


^ 


m 


3994 


3995 


3996 


3997 


3999 


4002 


PROVINCE   OF  YAMASHIRO 


289 


Kuniyama  or  Hozan  (4003*),  mark  obscure  (4004),  Nippon  Bunzan  kore  wo  utsusu  (4005), 
Sekizen  (4006*),  Kozan  (4007),  Uji  (4008).     1 780-1870 

4009— 40I5'  Tea-jars,  identified  by  Japanese 
experts  as  having  been  made  in  Uji  near  Kyoto. 

SOHAKU  (Case  34  and  Plate  XXIII.  4016) 

This  potter  was  a  contemporary  of  Shim- 
bei.  The  tea-jars  attributed  to  Sohaku  have 
a  bulbous  body  and  a  narrow  bulbous  neck. 

4016.  Tea-jar,  flask-shaped.  H.  2J  in.  Two 
looped  handles.  Brown-fawn  clay,  dull  chest- 
nut-brown glaze  with  darker  areas.  1540 

Type  Ninagawa.     Part  IV.,  Fig.  i. 

4005 
SHOI   (Case  34  and  Plate  XXIII.  4017) 

Shoi  or  Masai  was  an  oculist,  a  lover  of  the  tea-ceremony,  and  an  amateur  potter. 
Tea-jars  attributed  to  him  are  still  extant.  His  work  is  placed  in  the  middle  of  the 
sixteenth  century. 

4017.  Tea-jar,  gourd-shaped.     H.  -2.^  in.     Fawn  clay,  thick  chestnut-brown  glaze  mottled. 
Type  Ninagawa.     Part  IV.,  Fig.  2.  1550 

TAIHEI    (Case  34  and  Plate  XXIII.  4020) 

A  few  tea-jars  are  still  extant  of  an  amateur  potter  named  Taihei,  who  worked  in 
the  early  years  of  the  seventeenth  century.  His  tea-jars  are  signed  with  a  circle  im- 
pressed, and  are  of  great  rarity.  In  clay  and  glaze  they  bear  a  strong  resemblance  to 
those  of  Narumi  in  Owari. 


4020.     Tea-jar,  globular.    H.  2}in.    Grayish-brown  clay  and  glaze.    Mottled  areas 
of  rich  dark  brown.     A  circle  impressed.  1600 


o 


4020 


SO-I  (Case  34  and  Plate  XXIII.  4021) 

But  little  information  can  be  gathered  regarding  So-i  beyond  the  mere  record  that 
he  was  a  native  of  Kyoto,  a  tea-lover  and  an  amateur  potter,  also  that  he  was  a  con- 
temporary of  Shimbei,  Taihei,  and  other  amateurs.  His  mark  is  given  as  a  number  of 
double  cross-lines  incised.  The  specimen  in  the  collection  is  the  only  one  I  have  ever 
seen. 


4021.  Tea-jar,  cylindrical  with  two  knobs  on  shoulder,  sides  sliced.  H.  3J  in. 
Hard,  nearly  white  clay,  pale  light  yellowish-olive  glaze,  lustrous,  settling  into 
brown.     Cross-marks  incised.  1600 


"^ 


4021 


KOSON   (Case  34  and  Plate  XXIII.  4022) 

The  family  name  of  this  potter  was  Nagatagawa,  commonly  called  Zengamon.    He 
was  not  a  professional  potter,  but  being  fond  of  the  tea-ceremony  learned  the  art  of 


A 


290  THE   CATALOGUE 

making  objects  used  in  its  service.  His  mark  is  a  pine  needle,  and  is  exceedingly 
rare. 

4022.  Tea-jar,  double  gourd-shaped  with  two  knobs  on  shoulder.     H.  3^  in.    Gray-drab 
clay,  light  brown  glaze  without  lustre.    Irregular  brush-mark  in  light  slip,  . 
covered  by  a  lighter  brown  glaze.     Pine  needle  incised.                     16 10     ^^ 

Type  Ninagawa.     Part  IV.,  Fig.  3.  ^^ 

4022 

ASAKURA   (Case  34) 

An  amateur  potter  known  as  Asakura,  also  as  Domi,  made  tea-utensils  after  the 
style  of  Oribe  in  the  early  part  of  the  seventeenth  century.  He  signed  his  pieces  with 
an  impressed  mark  in  the  form  of  a  triangle.     His  work  is  exceedingly  rare. 

4023.  Square  holder,  thick  walls.  H.  2|  in.  Coarse  gray-drab  clay,  thick 
grayish-white  Shino  glaze,  coarsely  crackled.  Decoration  of  scrolls  in  grayish- 
brown.     Triangle  impressed.  1620 

4023 

MANYEMON   (Case  34) 

An  amateur  potter  known  as  Manyemon  made  tea-utensils  in  the  early  part  of  the 
seventeenth  century.  The  two  tea-jars  in  the  collection  identified  as  his  work  are  very 
similar. 

4024.  Tea-jar.  H.  3J  in.  Light  brown  clay  and  glaze,  rough  surface.  From  base  half- 
way up  vertical  lines  closely  cut.     Incised  band  around  middle.  1630 

4025.  Tea-jar,  similar  to  last. 

CHOSON   (Case  34) 

An  amateur  potter  known  as  Choson  made  tea-jars  in  Kyoto  in  1630,  or  there- 
abouts. He  signed  his  pieces  with  two  pine  needles,  one  bent  over  the  other.  Nina- 
gawa says  it  is  doubtful  whether  Choson  may  not  be  another  name  for  Koson,  also  he 
suggests  that  Choson  may  have  been  the  son  of  Koson. 

4026.  Tea -JAR,  slightly  flaring  base,  broadly  sliced  from  base  halfway  up.  H.  3I  in. 
Gray-drab  clay,  dull  chestnut-brown  glaze,  mottled  dark  brown  overglaze  around  upper  half. 
Zigzag  lines  incised  around  shoulder.  1630 


PROVINCE   OF   MUSASHI 

The  potteries  of  this  province  are  mostly  within  or  near  the  city  of 
Tokyo.  In  glancing  at  the  case  containing  the  pottery  of  Musashi  one 
fails  to  see  any  characteristic  feature  or  cachet,  so  to  speak.  The  Musashi 
pottery  in  this  respect  stands  in  marked  contrast  to  the  pottery  of  other 


CASE    34 


aino 


3y7z 


3iri« 


3S-/V 


3S-f3 


^^m^ 


3yfc7  1S&8  3S-t$  JIIS  3116       3'(l3  3'il«     JIIS  3111 


3S-SV  34-?8 


3?j»  „„  "^'i'lk'  iw  -"■-'  '-"^ "" 


,.,  a." 


iv«3 


3^16       3SX7. 


■^j^jga  rm  "&>'\m{Wi'k%m^'^"^^'^A^'mn'n 


30JI  30SJ..^tr^«> 


W  V'B^  W  o  ^ 


38/V  3%I(b  3«I& 


3tZS- 

o 


3»l<i  3817 

3823        3%2.0 


O^bOC 


3«S2  3&}0  3az& 

3«X« 


3'i'tl  3S53 


3Z91  Sfai-y         ^''"  StX'' 


•rOOi 


PROVINCE  OF  YAMASHIRO 


1 , , ,  1  ^ 

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il 

%^^-^^jm^ 

01 

\^ij^     :     ;  , JPi  'f j»A  jj>- 

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«i 

PROVINCE   OF  MUSASHJ  291 

provinces.  One  has  only  to  recall  the  pottery  of  Iwaki,  Iga,  Harima,  Bizen, 
Higo,  and  certain  other  provinces  to  note  their  pronounced  individuality. 
The  absence  of  this  individuality  in  Musashi  is  easily  understood.  With 
the  enforced  presence  in  Yedo  in  past  times  of  the  Daimyos  of  every  pro- 
vince, with  the  retainers,  potters,  metal  workers,  and  other  artificers  forming 
part  of  their  retinue,  the  diversity  is  readily  accounted  for.  In  many  instances 
ovens  were  erected  in  the  Yashiki,  and  potters  of  skill  were  brought  from 
various  provinces,  each  continuing,  with  slight  changes,  his  own  peculiar 
methods.  Thus  potters  from  Yamashiro,  Owari,  Omi,  Kii,  and  other  pro- 
vinces introduced  their  own  provincial  styles.  Tokyo,  also,  being  a  great 
commercial  centre,  naturally  attracted  potters  from  various  parts  of  the 
empire.  As  a  result  of  these  circumstances  a  great  diversity  is  seen  in  the 
character  of  the  pottery.  It  is  recorded  that  the  first  oven  in  Tokyo  was 
built  at  Akasaka  in  1630,  by  order  of  the  third  Shogun,  lyemitsu,  potters 
from  Osaka  being  ordered  to  make  pottery  after  the  style  of  their  Osaka 
work.  Previous  to  the  above  date,  however,  roofing  tiles  had  been  made 
in  the  last  years  of  the  sixteenth  century.  After  the  Osaka  potters,  came 
respectively  the  potters  of  Imado,  notably  Hanshichi ;  the  Ise  potter  at 
Kommemura,  and  the  Kyoto  potter,  Kenzan,  at  Iriya.  The  work  of  the 
Tokyo  potters  was  altogether  too  recent,  and  perhaps  too  poor,  to  gain 
recognition  from  the  lovers  of  the  tea-cult ;  consequently  the  labor  of  ascer- 
taining the  history  of  the  early  Tokyo  potteries  has  been  difficult  and 
uncertain. 

TAKAHARA  (Case  35) 

The  earliest  pottery  for  the  tea-service  in  Musashi  is  said  to  have  been  made  under 
the  patronage  of  the  Shogun  lyemitsu  in  1630-40.  The  oven  was  erected  in  Akasaka, 
and  potters  from  Takahara,  Osaka,  were  employed.  Korean  models  were  followed,  and 
while  the  work  is  certainly  characteristic  the  distinction  made  between  the  products  of 
the  two  ovens  seems  very  vague. 

4027  .  Bowl,  somewhat  irregular.  D.  5^  in.  Gray-drab  clay,  grayish-yellow  glaze  finely 
crackled.  1630 

4028.  Bowl,  sides  slightly  compressed.  D.  5J  in.  Light  fawn  clay,  lighter  fawn  glaze, 
thick  overglaze  about  rim  minutely  crackled.  Spiral  brush-mark  of  light  olive-gray  on 
side.  -     .  1630 

4029.  Bowl,  sides  compressed.  D.  5J  in.  Very  light  gray-drab  clay,  nearly  white  glaze 
minutely  crackled,  few  irregular  brush-marks  in  olive-gray.     Slightly  iridescent.  1630 


292  THE   CATALOGUE 

HARITSU   (Case  35) 

Haritsu,  or  Ritsu-5,  as  he  is  more  commonly  known,  was  a  native  of  Yedo.  He 
was  justly  famed  for  his  lacquer  work.  He  was  a  pupil  of  Korin  and  of  Kenzan. 
From  the  former  he  learned  lacquering  and  painting,  and  from  the  latter  the  art  of 
pottery-making.  It  is  said  that  Haritsu  was  the  first  one  to  use  pottery  in  the 
decoration  of  lacquer.  His  master  Korin  had  used  lead  and  pearl  with  marked  effect, 
and  Haritsu  conceived  the  idea  of  using  pottery  in  the  same  way.  His  lacquer-work 
signed  Ritsu-o  has  been  eagerly  sought  for  by  collectors.  Specimens  of  pottery  with 
this  signature  are  extremely  rare.     Haritsu  was  born  in  1683,  and  died  in  1747. 

4030.  Tea-cup.  D.  2|J  in.  Fine  fawn  clay,  light  Japanese  yellow  glaze,  with  pecul-  ^% 
iar  glistening  lustre.  Over-decoration  of  toys  in  white,  brown,  and  yellow  outlined  in  '^ 
black.     Haritsu  (inc.).  1700     4030 

KENZAN    (Case  35  and  Plate  XXV.  4035) 

From  a  late  manuscript  of  Ninagawa  the  following  information  is  derived  :  Kenzan 
(Ogata  Shinsho)  came  from  Kyoto  and  built  an  oven  in  Iriya,  Tokyo.  Here  he  made 
a  kind  of  soft  pottery  in  the  form  of  square  trays,  rarely  bowls.  These  were  decorated 
with  flowers,  etc.,  in  dark  brown  or  black,  poems  were  also  inscribed  upon  them,  and 
the  signature  of  the  potter  was  written  on  the  bottom  in  bold  characters  in  black.  In 
one  case,  at  least,  his  brother,  the  famous  artist  KSrin,  decorated  a  piece,  signing  his 
name  as  painter  (see  Cat.  No.  4035).  Kenzan  died  in  1743,  at  the  age  of  eighty-one. 
A  pupil  of  Kenzan  inherited  his  name,  and  continued  making  the  same  kind  of  pot- 
tery, signing  with  the  name  of  Kenzan.  In  1767  he  gave  the  name  Kenzan  to  his 
pupil  Miyasaka,  who  continued  the  work  in  precisely  the  same  spirit,  signing  his 
pieces  Kenzan.  He  finally  transferred  this  family  name  and  oven  to  his  wife  in 
1810. 

Sakai  Hoichi,  known  as  Kiokwan,  assumed  the  work  with  the  name  of  Kenzan 
from  the  wife  of  the  third  Kenzan.  His  work  was  less  decorated  and  much  poorer  in 
quality.  The  fifth  Kenzan,  known  as  Kasando,  continued  the  work  in  the  old  way. 
He  is  said  to  have  been  a  skilful  writer  of  old  Chinese  characters.  Ninagawa  says 
this  potter's  name  was  Nishimura  Sozen !  The  sixth  Kenzan  is  said  to  have  been 
represented  by  Miura  Kenya,  who  learned  the  potter's  art  from  Nakada  Kachiroku, 
afterwards  studied  under  Kasando,  and  finally  inherited  the  name  of  Kenzan,  signing 
his  pieces  Kenzan.  It  is  said  that  Kenya  worked  as  late  as  1867,  when  he  removed 
to  Kawagoe,  about  forty  miles  from  Tokyo.  Ninagawa  offers  the  opinion  that  the 
impressed  mark  of  Kenzan  was  used  by  Miyasaka,  the  third  Kenzan. 

If  these  records  of  Ninagawa  have  any  foundation,  then  the  numerous  pieces  signed 
Kenzan,  either  written  or  impressed,  when  they  bear  evidences  of  fair  age  may  be 
regarded  as  genuine. 

It  has  been  impossible  to  separate  the  different  generations  of  this  family,  and  so 
they  are  all  catalogued  under  the  general  name  of  Kenzan. 


ON^^"^''"" 


t 


PROVINCE   OF  MUSASHJ  293 

403^'     Bowl,  sides  evenly  sliced.     D,  41^  in.     Fawn  clay,  thick  fawn  glaze  clouded. 
Over-decoration  of  maple 
leaves    in    brown,    green, 
red,  and  white. 
Kenzan  (written).  17 17 

Type  Ninagawa.     Part 
IV.,  Fig.  30.  ^    ^ 

4032.    Square  tray.  ^M^ 

W.  6J  in.    Soft  light  fawn  4031 

clay.      Outside,  diaper   in 
blue,   stenciled.     Inside,    flowers    and   leaves 
in  green,  brown,  blue,  and  pale  purple.     Rim 
dark  brown.    Kmzan  (written).  1720 

Type  Ninagawa.     Part  IV.,  Fig.  32. 

4033-     Tray,  double   square.     L.   6}   in.     Soft   light  fawn 
clay,  greenish-white  glaze  coarsely  crackled.     Irregular  deco- 
ration in  brown  on  outside.    Inside,  under-decoration  of  flowers  4032 
and  poem  in  brown,  signed  Kenzan  Shb.     Kenzan  (written). 
Type  Ninagawa.     Part  IV.,  Fig.  31.                                1720 

4035-  Square  trav.  W.  Z\  in.  Soft  fawn  clay,  yellowish  glaze.  Outside,  rough  flowers, 
etc.,  in  brown.  Inside,  sketch  of  poet  contemplating  a  waterfall,  with  poem  in  brown. 
Poem  signed  Kenzan  Sho  Kaku.  Picture  signed  Korin  ga. 
Kenzan  Okina  (written).  17 10 

This  specimen  is  unique  in  bearing  a  sketch  by  Korin. 

4036.  Square  tray.  W.  8|  in.  Light  fawn  clay,  greenish- 
white  glaze  coarsely  crackled.  Outside,  formal  flowers  roughly 
sketched  in  dark  brown.  Inside,  peony  and  poem  in  light 
brown,  shaded  with  dark  brown.     Kenzan  Sho  Kaku  (written). 

1720 

4037.  Incense-box  (bird).    L.  2J  in.    Moulded.    Light  fawn 
clay,  light  green  glaze  outside.     Inside,  yellowish-white  glaze.  '^         ^q,, 
Kenzan  (written).                                                                         1720 

4030-     Tray,  rectangular.      L.  9  in.      Light  fawn  clay,  yellowish-white  glaze.      Outside, 
formal  flowers  in  dark  brown.     Inside,  two  horses  and  poem  in  brown.    Kenzan  (written). 

1720 
SUCCEEDING   GENERATIONS 

4039.     Square   tray.      W.  4f  in.      Fawn  clay,  yellowish-white  glaze.      Outside,  diaper. 

Inside,  formal  leaves  in  rich  dark  blue.     On  bottom  inside,  flowers  and  leaves  in  dark  blue. 

All  decoration  stenciled.     Kenzan  (stenciled).  1760 

^040*.    Jar.     H.  2j  in.     Very  light  fawn  clay,  smooth  surface  unglazed. 

Kenzan  (imp.).  1800 

4041.     Box  (hammer).    D.  ij  in.    Very  light  fawn  clay,  transparent  under- 

glaze,  thick  white  overglaze,  with  shading  in  blue.      Knobs  dark  brown.  404°  4041 

Kenzan  (imp.).  1800 


294 


THE   CATALOGUE 


4043 


4043*     Box,  square.     W.  2f  in.     Coarse  light  brown  clay,  warm  gray  glaze.     Plum-tree  in 
rich  brown  and  white,  touched  with  gold.     Kenzan  (written). 

1840 

4044*.  Hand-warmer.  H.  6  in.  Soft  clay,  white  glaze. 
Shoulder  with  round  and  square  perforations  alternating. 
Cover  with  petalated  perforations.  Overglaze  decoration  of 
flowers  in  various  bright  colors.  On  cover  Tempo  nensei 
(written).  San-dai  Kenzan  tsukuru.  Shodai  Kenzan  motte 
(written  on  base  in  square  panel). 

This  piece,  if  genuine,  is  the  work  of  the  third  Kenzan,  copying  the  first  Kenzan. 

R0KU2AN    (Case  35) 

A  tea-pot  most  skilfully  modeled  by  hand  bears  the  incised  mark  of  Toin  Rokuzan 
saku.  It  recalls  the  best  work  of  Koren.  (See  No.  4136.)  It  has  been  adjudged  by 
one  expert  to  have  been  made  by  one  of  the  Kenzan  generations,  and  as  Toin  was  one 
of  the  numerous  marks  of  Kenzan  this  may  be  so. 

4046.    Tea-pot.     D.  4^  in.     Modeled  by  hand.    Light  brown  clay,  smooth  sur- 
face, unglazed.     Toin  Rokuzan  saku  (inc.).  1850 

Exquisite  piece  of  modeling. 

Gift  of  W.  S.  Bigelow. 

KENYA   (Case  35  and  Plate  XXV.  4047) 

Miura  Kenya,  a  potter  of  Tokyo,  began  his  work  in  Asakusa  in  1830. 
Kenya  was  a  great  admirer  of  Haritsu  and  of  the  early  Kenzan.  He  fol- 
lowed these  artists  as  guides.  His  pottery  signed  Kenya  shows  the  Kenzan 
spirit.  If  the  records  regarding  the  Kenzan  generations  are  reliable,  then 
many  of  the  pieces  made  within  forty  years  signed  Kenzan  may  be  the  work 
of  Miura  Kenya. 


7^ 

a. 

4046 


4047-  Bowl,  sides  compressed.  D.  4J  in.  Drab  clay,  gray  glaze  spotted  with  brown. 
Fan  in  olive-brown,  flower  and  leaf  in  white  and  dull  blue.  Signature  in  blue  on  white  gourd 
bordered  with  blue.     Basal  ring  broken  away.     Kenya  tsukuru  (ytxiXX&Vi),  1840 


4047 


4048 


4049 


rt  \ » 


4050 


4048.     Tea-box.     H.  3  in.     Light  fawn  clay ;  irregular  area  of  white  glaze  upon  which  is 
decoration  of  clouds  in  bright  blue,  remaining  surface  thick  black  glaze.     Trunks  of  trees  in 


PROVINCE   OF  MUSASHI  295 

thick  brown  glaze  with  rich  green  leaves  having  bright  blue  centres.     Inside  richly  gilded. 
Kenya,  written  in  pale  purple  on  white  panel.  1850 

4049.  Tea-box.     H.  2J  in.     Light  fawn  clay.     Formal  design  of  pine-tree  in  rich  white 
glaze  shaded  with  brown  and  green,  remaining  surface  deep  black  glaze. 

Kenya,  written  in  brown  on  white  panel.  1850  ^      -  ^ 

Gift  of  W.  S.  Bigelow.  C     ^  F| 

4050.  Fire-vessel.  H.  35  '"•  Very  light  pinkish-yellow  clay,  light  yellow  fn  \  ft 
glaze,  square  of  basket  braid,  shell  and  fishes  in  high  relief,  light  wine-color.  -^  #7 
Around  rim  butterflies  and  circular  objects  in  relief,  glazed  yellow  on  wine-  *f  jQ-^* 
colored  surface.  Ribbon  scrolls  incised  about  decorations.  -^  '  ■  — 
Tenroktt-do  (imp.).                                                                                          i860 

A  very  rare  signature  of  Kenya. 

4052*.     Oblong  box,  cover  in  form  of  bull  moulded.     L.  3-^  in.     Soft 
white  clay,  green  glaze.     Lower  part  of  box,  clouds  in  relief  moulded.    Cover  _fi- 

glazed  deep  purple  with  target-shaped  disk  on  flank,  glazed  bright  yellow.  4052 

Meiji  Kichu-nen  gentan  Tenroku-do  Kenya  (inc.).  ^^77 

SOSHIRO  (Case  35) 

Soshiro  was  the  second  son  of  Nishimura  Sozen,  one  of  the  ancestors  of  the  pre- 
sent Yeiraku.  It  is  said  that  he  baked  in  Yedo  for  a  while  (see  Zengoro).  Within 
recent  years  the  mark  Tenka-iclii  Soshiro  has  appeared  again,  whether  used  by  the 
descendants  of  SoshirO  or  by  collateral  branches  of  the  family  I  have  been  unable 
to  ascertain. 

4053-  Rest  for  cover,  in  form  of  three  monkeys  (sam-biki-zaru).  D.  2  in. 
Modeled  by  hand.  Bodies  green  glaze,  arms  and  legs  bufl-colored  glaze  shaded 
with  black.     Tenka-ichi  Soshiro  (imp.).  1850        4053 

KASEIZAN   (Case  35) 

Pieces  bearing  the  impressed  mark  Kaseizan  were  made  near  Yotsuya,  Yedo,  over 
one  hundred  years  ago.  The  name  of  the  potter  is  not  known.  The  pieces  in  the 
collection  are  cleverly  modeled,  and  are  evidently  the  work  of  a  skilful  artist. 

4054-  Condiment-holder,  in  form  of  a  covered  jar  and  two  crenulated  cups  united  to  a 
central  cylinder.     (The  cylinder  to  hold  chopsticks.)     D.  6^  in.     Fawn 
clay,  thick  dark  brown  glaze.    Inside,  thick  white  glaze  with  brown  glaze  /ftS* 
streaming  within.     ATojmaw  (imp.).                                                        1780  ^.Xa 

4055*     Fire-vessel,  cylindrical,  resting  on  three  knobs.    H.  yj  in.    On  Sq 

sides,  two  ears  (lion  heads)  perforated.     Soft  reddish-buff  clay,  bright  |Jj 

reddish-buff  glaze.     Cherry  tree  in  brown,  flowers  in  white  glaze  tinged  4054 
with  green.     Kaseizan  (imp.).                                                                 1780 

4056.     Flower-vase,  six-sided.    H.  4I  in.    Light  fawn  clay,  light  green  glaze  mottled  with 
minute  yellowish  spots.     Design  perforated  near  opening.     ATajmaw,  in  relief  (imp.).       1780 

4057~4^59'     Cup-REST  and  INCENSE-STICK  BURNERS,  with  clay  and  glaze  similar  to  last. 
Unsigned. 


296  THE  CATALOGUE 

MIZUNO      (Case  35  and  Plate  XXV.  4061) 

A  Raku  pottery  of  no  little  merit  was  made  by  a  potter  named  Kichitaro,  at 
Tatsu-no  Kuchi,  in  Yedo,  in  1835.  The  oven  was  in  theYashiki  of  Mizuno  Dewa  no 
Kami  The  pottery  was  made  expressly  for  the  tea-ceremony,  and  the  pieces  were 
signed  with  the  kakihan  of  the  potter.     Specimens  are  very  rare. 

4061.  Box,  in  form  of  bird,  vigorously  carved.  L.  4  in.  Coarse  soft  Japanese  yellow 
clay,  transparent  glaze  with  splashes  of  thick  white  overglaze  shaded  with  blue  and  light 
brown.     Nari  (inc.)  [a  kakihan].  1835 

4061  4062 

4062.  Tea-jar,  with  short  handle  and  snout,  roughly  carved.  H.  3I  in.  Very  light  fawn 
clay,  very  thick  black  Raku  glaze,  tinged  maroon  around  shoulder.    Nari  (inc.)  [a  kakihan]. 

1835 

4063.  Tea-bowl.   D.  4J  in.    Thick  and  heavy.  Thick  black  Raku  glaze.   Unsigned.    1835 

T0KU2AN    (Case  35  and  Plate  XXV.  4064) 

A  potter  signing  his  pieces  Tokuzan  made  tea-utensils  in  Kamagome,  in  Yedo,  in 
the  early  part  of  this  century.  Being  fond  of  Shigaraki  pottery,  he  brought  clay  from 
Omi  and  used  it  in  his  work.  His  pieces  were  made  without  the  use  of  the  lathe,  and 
date  from  18 15.  The  impressed  mark  Tokuzan  used  on  his  earlier  work  is  extremely 
rare.     His  later  work,  bearing  an  incised  mark,  has  but  little  merit. 

4064.  Jar.  H.  3i  in.  Coarse  light  fawn  clay,  very  thick  rich  light  maroon  glaze  clouded, 
with  splashes  of  light  green  and  olive-green.     Tokuzan  (imp.).     181 7 

Type  Ninagawa.     Part  III.,  Fig.  8. 

4065.  Tea-bowl.  D.  4J  in.  Deep  finger-mark  impressions  on 
surface.  Coarse  light  brown  clay,  bright  gray  underglaze,  thick  light 
maroon  overglaze  streaked  with  light  brown.     Unsigned.  1817  ^ 

4066.  Rest  for  cover,  in  form  of  well,  with  figure  leaning  on  side.     Ex-      >  f.1 
treme  height  3  in.     Vigorously  modeled.     Thick  maroon  glaze  with  splash  of  a*^ 
light  green  overglaze.     Unsigned.                                                                  1817       Ai^ 

4067.  Tea-bowl.     D.   5    in.     Light    dull    brown    Raku   clay,   underglaze         ^^"^^ 
transparent,  bright  reddish  overglaze  containing  white  granules.     Irregular  4067 
brush-marks  forming  scroll  in  brown.     Tokuzan  zo  {mc).                           1820 


^ 


FROVJNCE   OF  MUSASHI 


297 


4068*.     Incense-box  (figure).      L.  4f  in.     Hoka  shichi-ju-hachi-o  Tokuzan  and  kakihan, 
Bunsei  jii-san  Kanoye  tora  Shi-gatsu,  ju-hachi  nkhi  (inc.).  1831 

4069.     Jar.     D.  3i  in.     Light,  fawn  clay,  transparent  underglaze,  thin  light  green  overglaze 
streaked  with  dark  green  running.     Hoka  hachi-ju-shi-o  Tokuzan  saku  (inc.).  1837 


-F 

1: 

-t 

H- 

1 

>13 

W 

4068 

TEIZAN    (Case 

35) 

4069 


4070 


During  the  existence  of  the  Korakuyen  oven  it  is  said  that  two  princes  of  the 
Tokugawa  family,  known  as  Seishu  and  Seisho  respectively,  were  accustomed  to  visit 
the  oven  and  make  objects  after  their  own  tastes.  Pieces  made  by  the  former  were 
signed  with  the  written  character  Teizan,  while  the  latter  prince  signed  his  essays 
Keizan.  The  collection  contains  at  least  one  piece  of  Seishu's  work,  formerly  in  the 
possession  of  Ninagawa,  and  the  object  must  be  considered  extremely  rare. 

4070.  Tea-bowl.  D.  4f  in.  Light  reddish-brown  clay,  light  red  glaze  pitted.  New  moon 
in  white  glaze.  Grasses  and  inscriptions  in  dark  brown.  Teigai  Chiushu  Teizan  ^fa  (written), 
also  kakihan  of  Teizan.  1823 

4071-     Vessel,  to  hold  water  for  ink-stone,  with  hollow  dragon,  used  in  taking  up  the  water, 
suspended  from  side.     Vessel,  d.  2|  in. ;  dragon,  1.  3f  in.     Clay  and  glaze  similar  to 
last.     Teizan  (imp.).  1823 

This  piece  closely  resembles  the  work  catalogued  under  Kaseizan  (Nos.  4054- 
4059).  The  signature,  which  is  obscure,  has  been  read  Teizan,  and  so  the  object  is 
placed  here  provisionally. 


298 


THE   CATALOGUE 


RAKURAKUYEN   (Case  35  and  Plate  XXIV.  4072) 

In  the  Yashiki  of  the  Daimyo  of  Owari  was  a  garden  known  as  Rakurakuyen.  An 
oven  was  built  in  this  garden  by  direction  of  the  old  prince  of  Owari  in  1804,  and 
potters  from  Seto,  Owari,  were  called  to  take  charge  of  it.  The  essays  were  mostly  in 
true  Seto  style  of  that  date,  with  some  departures  near  the  end  of  the  worL  The 
signature  was  Rakurakuyen,  impressed.  Masaki  of  Nagoya  was  in  charge  for  a  while, 
and  pottery  made  by  him  bore  the  additional  mark  Masaki.  The  clay  was  at  one  time 
brought  from  a  quarry  near  Seto,  and  pieces  made  from  this  clay  have  the  mark 
Sobokai  accompanying  that  of  Rakurakuyen.  The  pottery  was  vigorous,  tasteful,  and 
in  rigid  adherence  to  the  tea-cult.     The  work  ceased  in  1830. 

4072.     Water-jar,  with  flaring  crenulated  rim  and  side  indented.     H.  7  in.    Fine  gray-drab 
clay,  thick  blue  glaze  mottled  with  white  around  neck,  running  in  long 
streams  on  unglazed  surface.     Sobokai  and  Rakurakuyen  (imp.).  1825 

Type  Ninagawa.     Part  VII.,  Fig.  20. 

4073-     Tea -BOWL.     D.  4^    in.     Irregular  rim.     Light 
gray  clay,  white  underglaze,  light  glassy-green  overglaze. 
Lobster  incised.     Entire  surface  with  strong  cloth-mark 
impression,  as  if  the  bowl  had  been  made  in  a  bag. 
Rakurakuyen  and  Masaki  (imp.).  1825 


4074 


4072 


4073 


4077 


4078 


4074*     Tea-bowl.     D.  45  in.     Dull  reddish-brown  underglaze,  deepest  seal-brown  overglaze. 
Rakurakuyen  sei  (imp.).  1825 

4075-      Dish,  leaf-shaped,  rim  scalloped.      L.  6|  in.     Light  fawn  clay,  thick  dark  green 
overglaze  clouded.     Rakurakuyen  sei  (imp.).  1825 

4076.  Shallow  tea -bowl.  D.  55  in.  Fawn  clay,  white  underglaze, 
rich  light  brown  overglaze  running  from  rim.  Inside  and  out  flecked  with 
fawn,  golden-brown,  and  blue.     Rakurakuyen  (imp.).  1825 

4077.  Tea-bowl.  D.  4^  in.  White  Shino  glaze  and  rude  under-decora- 
tion  in  warm  gray.     Rakurakuyen  (imp.).  1825 

4078.  Tea-bowl.   D.  4  in.   Warm  gray  glaze  and  white  Mishima  decoration.   Signed.    1825 

4079.  Tea-bowl.     D.  5  in.     White  Shino  glaze.     Rakurakuyen  (imp.).  1825 

4080.  Box,  wheel  design.  D.  3I  in.  Moulded. 
Bright  green  glaze.     Rakurakuyen  (imp.).  1825 

4081.  Dish,  polygonal.  D.  3J  in.  Moulded.  Hard 
white  clay,  indigo-blue  glaze.  Dragons  and  scrolls  in 
relief  inside.     Rakurakuyen  (imp.).  1825 

4082.  Leaf-shaped  dish.  D.  5  §  in.  Various  colored 
glazes.     Rakurakuyen  sei  (imp.).  1825 

4083*.     Comfit-bottle,  square.    W.  2%  in.    Softest  white  clay,  thin  light  purple  glaze,  mot- 
tled.    Rakurakuyen  sei  (imp.).  1825 


4079 


4080 


4081 


4083 


PROVINCE   OF  MUSASHI  299 

KORAKUYEN   (Case  35  and  Plate  XXV.   4086) 

Outside  the  Koishikawa  castle  gate,  there  was  a  Yashiki  belonging  to  the  prince 
of  Mito.  The  garden  of  this  Yashiki  was  known  by  the  poetical  name  of  Korakuyen. 
To  this  place  Adzuma  Kichiyemon,  of  Kyoto,  was 
invited,  to  build  an  oven.  Raku  pottery  in  a  vari- 
ety of  forms  was  made,  and  this  work  was  signed 
with  a  delicately  cut  circular  stamp  of  Koraku  or 
Korakuyen  sei. 

4084.  Water-jar.     H.  7  in.     Deep  lathe-marks  show- 
ing.    Coarse  dark  clay,  rough  surface  unglazed,  black 
Raku  glaze  running  down  from  rim. 
Korakuyen  sei  and  kakihan  (imp.).  1832 

4085.  Tea-bowl.     D.  3I  in.     Gray-drab  clay,  light  red  Raku  glaze  clouded  and  pitted. 
Koraku  (imp.).  1832 

4086.  Incense-box,  leaf-shaped.     L.  3J  in.     Crab  modeled  on  cover.     Light  fawn  clay, 

1832 


thick  white  glaze.     Lines  in  relief  and  crab  glazed  blue. 
Gift  of  Hiromichi  Shugio. 

4087.  Tea-jar,  slender.  H.  3  in.  Light  reddish- 
fawn  clay,  white  underglaze,  light  red  overglaze 
clouded,  light  brown  glaze  about  rim. 

Koraku  (imp.).  1832 

4088.  Tea-bowl.  D.  4J  in.  Thick  black  Raku 
glaze.     Korakuyen  sei  (imp.).  1832 

4089.  Tea-bowl.     D.  4  in.     Thick  black  Raku  glaze. 


Korakuyen  sei  (imp.). 


4087 


4088 


4089 


Korakuyen  sei  (imp.). 


1832 


4090.  Lenticular-shaped  jar,  with  small  opening.     D.  3I  in. 
blue  glaze  granulated.    Koraku  {yax^^.     1832 

4091,  4092.    Tea-jars.    Black  Raku  glaze. 
Koraku  (imp.).  1832 

4093.     Tea -JAR.     H.    2|    in.     Buff    clay, 
dull  white  glaze  strongly  crackled. 
Koraku  (imp.).  1832 


Gray-drab  clay,  thick  dark 


4090 


4091 


4092 


4093 


HANSHICHI   (Case  35) 

Between  the  years  1684  and  1687  Shirai  Hanshichi,  of  Imado,  began  the  making 
of  unglazed  vessels  for  the  tea-ceremony.  In  1716-35  a  second  generation  succeeded 
to  the  work,  and  for  the  first  time  in  Imado  began  the  use  of  glaze  on  a  form  of  Raku 
pottery.  Other  generations  succeeded,  and  in  1870  the  sixth  generation  was  at  work 
using  the  mark  Shirai  Hanshichi. 

4094*  Bowl.  D.  \\  in.  Soft  fawn  clay,  transparent  underglaze  coarsely  crackled,  large 
splash  of  grayish-purple  glaze  with  white  dashes.  Grass  in  bright  blue  and  dark  brown. 
Hanshichi  {\m^.).  1800? 


300 


THE   CATALOGUE 


4095>     Incense-stick  burner.    D.  2|  in.    Light  fawn  clay,  rich  green  glaze.     Fret  deeply 
impressed  about  rim  and  gilded. 
Jmado  hamatoyo  and  Hanshichi  (inc.),  Hanshichi  (imp.). 

1800 


^^ 


SAKUYEMON  (Case  35) 


I* 


#^ 


4095 


A  rare  piece  in  the  collection  bears  the  mark 
Shirai  Sakuyemon.  The  work  Toki  Shoshi  records 
a  collateral  branch  of  Shirai  Hanshichi,  with  the 
successive  generations,  Zenjiro,  Seijiro,  Genjiro, 
and  Sanjiro.  Whether  Shirai  Sakuyemon  was  a 
collateral  branch  of  Hanshichi  or  in  a  direct  line,  I 
have  not  been  able  to  ascertain.  The  piece  here 
catalogued  is  probably  one  hundred  and  fifty  years 
old.  The  mark  of  Sakuyemon  is  in  a  pointed  oval  panel,  evidently  in  imitation  of  the 
mark  of  Sosaburo,  a  famous  furo-maker  of  Kyoto. 

4096.     Fire-vessel  (spinning  top).     D.  5J  in.     Soft  light  brown  clay  unglazed.     Three 
encircling  bands  of  red  separated  by  incised  lines. 
Shirai  Sakuyemon  (imp.).  1750 


SUMIDAGAWA   (Case  35) 

In  the  beginning  of  the  century  a  potter  known  as 

Kikkutei  established  an  oven  in  Sumidagawa,  Yedo, 

and  made  a  soft  Raku  pottery.     The  work  of  the  first 

generation  was  quaint  and  interesting.     In  1875  the 

third  generation  was  at  work,  and  the  pottery  shows 

the  usual  deterioration. 

4096 

4097'     PiPE-ASH   HOLDER,  Cylindrical.     H.   4J  in.     Buflf 

clay  and  glaze.     Oblique  lines  running  from  top  to  bottom  in  white 

red,  blue,  or  green.     Sumidagawa  sei  (written). 


4097 

slip,  all  but  two  colored 
1810 


4099-     Bowl.     D.  41^  in.     Fawn  clay,  transparent  underglaze,  light  gray  overglaze.     Over- 
decoration  of  ducks  in  white,  touched  with  black.     Sumidagawa  (imp.).  1830 

4100.  Squat  jar,   globular.     D.   5   in.     Buff   clay,  transparent 
underglaze,   thick  white   glaze   with   buff  color  showing  through. 
Over-decoration  of  flowers  in  light  red  and  dark  brown. 
Sumidagawa  (imp.).  1840 

4101.  Tea-bowl.  D.  5  in.  Light  fawn  clay,  transparent  under- 
glaze, dull  red  Raku  overglaze  with  whitish  areas.  Cloud-mark  of 
olive-green  on  side.     Sumidagawa,  in  rosette  (imp.).  1840 

Extremely  rare  mark. 


4099 


4101 


PROVINCE   OF  MUSASHI 


301 


4102.    Bowl.     D.  5, J  in.     Yellowish-fawn  clay  and  glaze, 
drawn  in  white,  dark  brown,  dull  red,  and  green. 
Sumidagawa  (imp.).    Sangen  (name  of  painter  written).    1847 

4103   .    Incense-box.    L.  3I  in.    Sumidagawa  (imp.) 

4104.  Square  incense-box. 
W.  2  in.  Light  buff  clay,  trans- 
parent underglaze,  white  over- 
glaze.  Over  -  decoration  of 
grasses  in  light  purple.  Splash 
of  light  green  glaze  on  corner. 
Sumidagawa  (imp.).  1870 

4105*,  4^0^*'    Incense-boxes,  bird-shape.    Sumidagawa  (imp.). 


Flowers  and  leaves  vigorously 


4103 


410S 


4106 


4102 


1870 


SANRAKUYEN   (Case  35) 

A  number  of  attempts  were  made  from  time  to  time  to  establish  ovens  in  Yedo  for 
the  production  of  pottery  known  as  Kochi.  One  of  these  efforts  is  seen  in  the  pottery 
bearing  the  mark  of  Sanrakuyen  sei.  Midsuno,  Duke  of  Tosa,  built  an  oven  in  his 
garden,  known  as  Sanrakuyen,  and  potters  from  Kii  were  invited  to  reproduce,  if 
possible,  the  beautiful  blue  and  purple  glazes  of  Kairakuyen,  but  after  a  few  years  of 
unsuccessful  effort  the  venture  was  abandoned.  The  only  apology  that  can  be  made 
for  the  pottery  is  that  it  came  nearer  the  original  type  than  that  of  Tosenyen  and  other 
imitators. 

4107.  Plate.     D.  6|  in.     Moulded,  crenulated  rim.     Hard  white  stone  clay,  purple  glaze, 
touch  of  light  blue.     Inside  surface,  leaf  in  relief.     Sanrakuyen  sei  (imp.).  1848 

4108.  Plate.     D.  6J  in.     Moulded.     Hard  white  stone  clay,  light  blue  glaze.     Inside  sur- 
face consisting  of  two  butterflies  in  high  relief.     Sanrakuyen  sei  (imp.).  1848 

4109.  Plate.     D.  6J  in.     Moulded.     Light  buff  clay,  dark  yellow  glaze.     Petals  in  high 
relief  inside.     Sanrakuyen  sei  (imp.).  1848 

4110.  Plate.     D.  s|  in.     Moulded.     Hard  white  clay,  light  blue  glaze.     Inside,  chrysan- 
themum and  leaf  design  in  relief.     Sanrakuyen  sei  (imp.).  1848 


i^ 


4109 


41 10 


4111 


4112 


41 1 1.  Plate.  D.  6|  in.  Moulded.  Hard  stone  clay,  light  blue  glaze  inside.  Outside, 
light  yellow  glaze  with  formal  leaves,  flowers,  and  scrolls  in  light  blue,  dark  pink,  and  white 
outlined  in  black.     Inside,  butterflies  in  relief,  as  in  No.  4108.    Sanrakuyen  sei  (imp.).     1848 

4112.  Hexagonal  box,  with  flying  crane  moulded  in  high  relief  on  cover.  D.  2|  in.  Hard 
white  stone  clay,  deep  purple  glaze.    Crane,  light  blue  glaze.    Sanrakuyen  sei  (written).    1848 


302 


THE   CATALOGUE 


TOSENYEN   (Case  35) 

A  potter  from  Wakayama,  Kii,  familiar  with  the  old  glazes  of  Kairakuyen,  started 
the  making  of  similar  pottery  in  Yedo  in  1850.  His  venture  was  more  disastrous  than 
that  of  the  potters  who  made  a  similar  imitation  under  the  name  of  Sanrakuyen.  His 
productions  were  devoid  of  merit,  and  after  a  short  time  the  work  ceased. 

4113-     Flower-pot.      H.  5  in.      Light  fawn  clay,  light  blue  underglaze,  broad 
areas  of  thick  deep  purple  glaze  running.    Bamboo  deeply  incised. 
Tosmyen  set  (imp.).  1852 

Rare  mark. 


KIKKO   (Case  35) 

Kikko  of  Osaka  came  to  Yedo  in  1855  and  built  an  oven  at  Mukojima,  using  Kikko 
and  Jusan  Ken  as  signatures.  He  died  in  1861.  His  adopted  son,  Ichiro,  with  the 
pseudonym  of  Shogetsu,  continued  the  work,  using  the  incised  mark  Bokusui-hen  sci, 
and  sometimes  Ichiro.  He  died  in  1864,  aged  forty-four.  His  widow  continued 
the  work  until  1868.  Since  then  inferior  pottery  has  been  made  bearing  the  mark 
Kikko.  As  to  the  generations  of  this  family,  it  is  difficult  to  state.  The  best  work 
was  done  by  the  original  Kikko  in  Settsu,  Suo,  and  Shinano.     (See  these  provinces.) 

41 14-     Bowl,  oblong,  rim  cut.     D.  5J  in.       Dull  brown  clay,  dark  warm  gray  glaze.    Under- 
decoration  of  clouds  and  crane  in  white  and  black.     Basal  ring  square.     Unsigned.  1855 

41 15.  Cup-rest.    D.  4J  in.  Very  light  fawn  clay,  thick  white  glaze  with  encircling  bands  in 
light  blue  and  light  olive.   Kikko  {ycK^.).     1855 

41 16.  Circular  dish,  with  vertical  sides, 
resting  on  three  knobs.  D.  4I  in.  Yellowish- 
white  clay  and  glaze.  Inside,  bamboo  in  light 
blue.    Kikko  (imp.).  1855 

4117-  Hanging  flower  -  holder.  H.  5  in.  Dull 
brown  clay,  with  touch  of  transparent  glaze.  Roughly 
turned.     Kikko  (imp.).     Bokuta  Toko  (inc.).  1855 

4118.  Tea-pot.    D.  4^  in.     Black  Raku  glaze. 

4119.  Box  (bird).  L.  5!  in.  Light  gray-drab  clay, 
white  glaze,  bill  reddish,  wings  and  tail  shaded  blue. 
Bokusui-hen  ni  cite  kore  wo  seisu  (inc.). 

4120.  Box,  modeled  in  form  of  lotus-seed  capsule.     D,  3  in.     Light  brown 
clay  imglazed.    Bokusui-hen  ni  oite  (inc.).  1862 


4117 
Kikko  (imp.) 


4119 


4120 


i 


4121 


4122 


4123 


4124 


4I2I-4124.    Various  pieces  of  recent  KikkO,  with  the  marks  Kikko,  impressed,  and 
Kikko  tsukuru,  incised  (4121).  1875-1885 


PROVINCE   OF  MUSASHI 


303 


KWAISUIYEN    (Case  35) 

In  1830  a  small  oven  was  erected  in  a  garden  in  Yedo  belonging  to  a  noble  from 
Kiyosu,  Owari,  and  a  potter  from  Kiyosu,  named  Fujishiro  Kawamoto,  was  invited  to 
take  charge  of  it.  With  the  aid  of  a  number  of  assistants,  pottery,  consisting  of  tea- 
utensils,  flower-pots,  etc.,  was  made.  That  the  work  had  little  merit  may  be  inferred 
from  the  fact  that  very  few  examples  of  it  have  survived.  Indeed,  the  single  specimen 
in  the  collection  is  the  only  one  I  have  ever  seen.    The  work  ceased  in  1861. 

4125.  Irregular-shaped  vessel,  for  washing  brushes.  D.  3^  in.  Modeled 
by  hand.  Fine  soft  white  clay ;  outside,  stained  brown ;  deep  olive-green  glaze 
inside.     Base  gilded.     Kwaisuiyen  set  (imp.).  1840 

Exceedingly  rare.  4125 

TAMAGAWA  (Case  35  and  Plate  XXV.  4126) 

An  obscurity  which  I  have  never  been  able  to  clear  up  covers  the  origin  of  this 
interesting  pottery.  Ninagawa  identified  certain  of  the  pieces  in  the  collection  as 
Seto,  Owari ;  others  supposed  the  pottery  to  be  Kyoto.  The  pieces  are  refined  in 
character,  and  reveal  the  work  of  a  potter  who  loved  the  quiet  and  simple  tastes  of  the 
tea-cult.  The  pottery  was  made  near  Yedo,  in  the  hamlet  of  Yaguchi,  on  the  Tama- 
gawa,  and  dates  back  fifty  or  sixty  years. 

4126.  Tea-bowl.      D.  4J  in.      Coarse  gray-drab  clay,  olive-gray  glaze.     River  embank- 
ment protection  in   dark  brown. 
Brush-marks   in   white.     Hitotsu 
yaki  and  Tama  (imp.).  1850 

4127.  Tea -BOWL.  D.  4}  in. 
Coarse  gray-drab  clay,  olive-gray 
glaze,  white  brush-marks  inside. 
Tantagawa  yaki  and  kakihan 
written  in  brown  outside.       1850 

4128.  Incense-box.  D.  1}  in. 
Very  light  gray-drab  clay,  white 
glaze.  Rice-mortar  and  pestle  in 
dark  brown  and  light  gray  on 
cover.     Inside,  transparent  glaze. 

4129.  Incense-box  (bird).  L. 
Tama  (imp.). 

4130.  Incense-burner,  modeled  in  form  of  mythological  lion, 
drab  clay,  yellowish  underglaze,  light  red  Raku  overglaze. 
Tama  and  Tamagawa-shisui  (imp.). 


4126 


4127 


Tama  (imp.).  1850 

2\^  in.     Coarse  gray-drab  clay,  thick  black  Raku  glaze. 

1850 

H.  7i  in.     Gray- 


1850 


4130 


KICHIROKU   (Case  35) 

Ninagawa  records  in  his  notes  that  a  potter  named  Ida  Kichiroku  came  to  Yedo 
from  Shimosa  in  i860  and  opened  a  bric-a-brac  shop  in  Asakusa.     Here  he  built  an 


304  THE   CATALOGUE 

oven  and  made  hard  pottery.  He  is  said  to  have  gone  to  Ise,  and  also  to  Kameyama, 
Hizen,  making  pottery  in  both  places.  The  only  specimen  in  the  collection  bearing 
thte  mark  Kichirokti  is  a  small  figure  of  hard  paste  from  the  Ninagawa  collection.  A 
square  dish,  which  Ninagawa  believed  to  have  been  made  by  Kichiroku,  in  Shimosa, 
was  made  by  Kitsuroku  in  Shimotsuke,  an  adjoining  province.  The  Wag- 
gaman  collection  in  Washington  contains  a  piece  signed  Kitsuroku,  with  "^ 

other  inscriptions,  showing  that  it  was  made  in  Kameyama,  Hizen.     Either       r^ 
Ninagawa  has  confounded  two  potters,  or  the  same  potter  wrote  his  name  ^'U 

in  two  ways.     (See  Shimotsuke.)  4131 

4I3I<     Netsuke,  in  form  of  dancer.     H.  i|  in.     Light  gray-drab  clay,  white  glaze.     Dress 
with  green,  red,  and  purple  with  gold.     Kichiroku  saku  (inc.).  i860 

A  delicate  bit  of  work. 

SHIBUYA   (Case  35) 

In  1850  the  Daimyo  of  Satsuma  had  a  small  oven  built  in  the  Yashiki 
at  Shibuya,  Yedo.  The  pottery  was  made  of  clay  brought  from  Satsuma. 
A  few  pieces  only  were  made.     The  pottery  had  no  special  merit. 

4132.     Bowl.     D.  5^  in.     Very  light  buff  clay,  light  gray  glaze.     Poem  in  blue 
signed  Ga  and  SockH.  1850 

BENJIRO    (Case  35) 

Sakune  Benjiro,  an  Imado  potter,  was  at  work  in  1840-45  making  unglazed  fire- 
vessels.     He  was  justly  regarded  by  the  Japanese  as  the  best  potter  of  Imado. 
The  single  specimen  of  his  work  in  the  collection  bears  out  this  judgment,     ^j^ 
Whether  Genjiro  (No.  4158)  is  a  later  generation  of  this  family  I  do  not  know. 


4132 


4^33-  Furnace  for  tea-pot.  H.  io|  in.  Fine  gray-drab  clay,  polished  black 
surface.  Lotus  bud,  leaf,  and  flower  deeply  carved  on  outside  showing  rough  sur- 
face.    Benjiro  (imp.).  1845 

Gift  of  W.  S.  Bigelow.  4133 

SAKIGAKI    (Case  35) 

On  the  north  of  Negishi  (near  Iriya  to  the  west),  at  the  mansion  of  Honda,  an  oven 
was  built  in  1863.  A  potter  from  Kyoto  was  invited  to  take  charge  of  it.  The  pot- 
tery was  a  kind  of  hard  Raku  with  green  and  black  glazes,  and  continued  for  a  short 
time  only.     Specimens  are  extremely  rare. 

4134*     Cup.     D.  3:^  in.     Leaves  on  outside  moulded.     Buff 
clay,  rich  green  glaze  outside,  white  glaze  inside. 
Sakigaki  (imp.).  1864 

Gift  of  Ernest  Hart. 

4134  4135 

4^35-     Haisen,  in  form  of  ceremonial  hat.     L.  8J  in.     Light 

gray-drab  clay,  white  underglaze,  deep  seal-brown  overglaze.     Sakigaki  (imp.).  1864 


PROVINCE  OF  M  US  AS  HI  305 

KOREN   (Case  35) 

A  woman  named  Hattori  Tsuna,  with  the  pseudonym  of  Koren,  was  at  work  in  1878 
making  pottery  by  hand  modeling.  The  color  of  the  clay  employed  and  the  peculiar 
tint  and  finish  of  her  unglazed  pieces,  with  the  suggestive  subjects  selected,  gave  her 
work  a  remarkable  resemblance  to  wood-carving. 

4x36  .  Paper-weight  (toad  on  roof  tile).  L.  3J  in. 
Meiji  ju-hachi  nen   Keren  saku   (inc.).      Koren    (imp.). 

1884 

4^37-  Incense-box,  kidney-shaped.  L.  3J  in.  Brown 
clay,  unglazed.  Deep  impressions  of  actual  leaves,  fern, 
maple,  etc.     Unsigned.  1878 

Gift  of  W.  S.  Bigelow. 

4138.  Tea-pot.  D.  2f  in.  Modeled  by  hand.  Light 
brown  clay,  unglazed.  Pine  trunk  in  relief,  needles 
incised.    Koran  Joshi  isttkuru  (inc.).  1878 

Whether  Koran  was  any  relation  to  Koren  has  not 
been  ascertained. 

MAKUDSU    (Case  35) 

Makudzu  Kozan  moved  from  Kyoto  to  Yokohama  in  1870.  Here  he  made  a  great 
amount  of  pottery  for  export.  Within  a  few  years  there  have  been  produced  some 
marvelous  glazes  on  a  hard  body  in  imitation  of  Chinese  forms.  On  the  occasion  of 
the  great  National  Exposition  in  Tokyo  in  1877,  Makudsu  made  pottery  from  clay 
taken  from  Shinobazu  pond,  near  Uyeno  Park,  in  which  place  the  exhibition  was  held. 

4139.  Bowl.    D.  5^  in.    Sides  compressed.     Rough  and  heavy.    Coarse  brown  clay,  olive- 
brown  glaze.      Brush-marks  of  white  slip  inside 
and  out.     Makudsu  (imp.).  1877 

4140.  Dish,  lotus  leaf.     D.  6^  in.     Gray-drab 

clay  and  glaze  mottled.    Inside,  thick  white  glaze 

with  inscription  in  blue.     Inscription  states  that 

the  piece  was  made  of  clay  taken  from  Shinobazu 

pond.     Makudsu  Kozan  (imp.).  1877 

#  4139  4140  4141 

414I   .    Jar.    H.  7J  in.    Looped  handles.  Very 

light  gray-drab  clay,  brown  glaze  with  deep  seal-brown  glaze  on  cover  and  shoulder  running 

in  streams.   Makudsu  (imp.).  1880 

SEISHI    (Case  35) 

A  potter  named  Naruse,  from  Mino,  worked  for  a  while  in  1872,  at  Nagai-sho  Shiba. 
A  variety  of  vessels  were  made  for  the  tea-lover,  but  the  pottery  lacked  sufficient  merit 
to  insure  its  continuance.  The  mark  Seishi  was  used.  The  pottery  was  also  known 
as  Maruyama. 

4142.     Beaker.     D.  6  in.     Two  leaves  moulded  on  side.     Coarse  buff  clay,  light  olive- 
greenish  glaze,  spotted  with  brown.     Characters  in  white.     Seishi  (imp.).  1872 


3o6 


THE   CATALOGUE 


4I43-  Plate,  with  one  side  of  rim  gradually  thickened  to  represent  new  moon.  D.  7I  in. 
Very  light  fawn  clay.  Under  side  unglazed.  Inside,  light  greenish-white  glaze  with  -j^ 
peculiar  radiating  crackle.     Clouds  and  nightingale  deeply  carved,  unglazed.  \^i 

Seishi  (imp.).  1872      V®r 

4«43 
ENOUYE   RYOSAI  (Case  35) 

This  potter  was  making  tea-vessels  in  Imado  in  1870-80,  and  at  that  time  his  work  was 
known  under  the  general  name  of  Imado.  Within  recent  years  he  has  produced  some 
remarkable  and  beautiful  glazes  on  a  hard  body  following  Chinese  models.  Curious 
bowls  made  to  look  old,  and  bearing  the  mark  Hontpo  (?)  in  obscure  characters,  are 
said  to  have  been  made  by  this  potter  within  twenty  years. 

4144—4149*.     Bowl  and   tire-vessels,    flower-vase,   etc.,    with   marks  Enouye   Ryosai 
(4144*,  4146,  4148*)  and  Dai  Nippon  Tokyo  Enouye  Hyosai  (4145)  (imp.).  1875-1880 


4145 


4146 


4148 


4149 


a 

4150 


4150,  415I.       Bowls.    Ifompo  (imp.). 


1885 


YEDOGAWA  (Case  35) 

Pottery  of  hard  paste,  known  as  Yedogawa,  was  made  in  Tokyo  in  1878.  The 
single  piece  in  the  collection  is  moulded,  and  is  interesting  only  from  its  peculiar 
technique. 

4152*.     Cup,  with  scalloped  outline.   D.  2  J  in.   Hard  white  clay,  light  green  celadon  glaze. 
Fringe  and  scallops  delicately  drawn  in  white  slip.  1878 

SHIRAI    (Case  35) 

A  number  of  potters  were  baking  in  Imado  in  1878,  and  probably  earlier.  They 
signed  their  pieces  Shirai  Hanshichi,  Shirai  Seijiro,  and  Shirai  Zenniu.  Their  pieces 
usually  consisted  of  unglazed  fire-vessels.  They  represent  one  of  the  collateral  branches 
of  the  original  Hanshichi. 

4^53-  Shallow  tea-bowl.  D.  5f  in.  Soft  light  Raku  clay,  yel- 
lowish glaze ;  area  of  salmon  glaze  mottled  with  reddish-brown. 
Shirai  Hanshichi  (imp.).  1880 

4154*-  Fire-vessel.  D.  4j  in.  Black  clay.  Polished  black  sur- 
face blending  with  brown  above.     Shirai  Seijiro  (imp.).  1880 


4153 


4154 


ZENNIU   (Case  35) 

This  potter,  whose  name  was  Shirai  Kanekichi,  was  probably  related  to  the  above. 
He  made  tea-bowls  and  fire-vessels,  glazed  and  unglazed. 


PROVINCE    OF  MUSASHI 


307 


4^55-    Fire-vessel.    H.  7I  in.    D.  at  mouth,  7J  in.     Soft  clay ;  lower  third  black,  middle 
third  light  gray,  strongly  clouded  with  dark  fawn  clay.     Upper 
third  clear  green  with  darker  gray  clouding  showing  through. 
Greek  fret  impressed  about  neck.     Shirai  Zenniu  (imp.).      1880 
A  superb  example  of  Zenniu's  work. 

4156*,  4157*'     Bowl  and  fire-vessel.    Shirai  Zenniu  (imp.). 

1880 
GENJIRO   (Case  35) 

A  potter  of  unglazed  fire-vessels  was  at  work  in  Tokyo  in  1 880.     He  belonged  to  a 
collateral  branch  of  Hanshichi,  and  died  within  recent  years  leaving  no  successor.       (^ 


4'55 


4«S7 


V!^ 


4158*'  Plate,  to  hold  ashes  in  furo.     D.  4I  in.     Unglazed.     Genjiro  (imp.). 


YOTSUYA  (Case  35)  4158 

A  potter  of  Yotsuya,  a  district  of  Tokyo,  was  at  work  in  1870-80,  making  small 
tea-cups,  figures,  etc.,  of  a  semi-porcelain.  His  figures  of  warriors  show  some  skill  in 
modeling. 

4^59-     Tea-cup.     D.  2\  in.     Brown  clay,  olive-gray  glaze  spotted  with  brown.  1877 

4160.  Tea-cup.     D.  2J  in.    White  porcelain  clay  and  glaze.     Flowers  in  dark  and  light 
blue.     Ukaku  tsukuru  (written).  1877 

4161.  Figure  of  warrior.     H.  4^^  in.    Porcelain  clay,  thick  brown  glaze.  1877 

KOISHIKAWA  (Case  35) 

An  oven  was  established  in  Koishikawa  in  1880,  and  pieces  of  varying  degrees  of 
excellence  were  made.  Within  recent  years  the  output  has  improved  vastly,  and  the 
work  has  won  high  recognition  in  native  and  foreign  exhibitions  under  the  direction  of 
the  famous  Takemoto. 

4162*.     Squat  tea-jar,  with  two  handles.     H.  i  J  in.    White  stone  clay,  light  brown  glaze 

mottled  with  darker  brown.  1880 

This  piece  is  interesting,  as  showing  the  appearance  of  a  tea-jar  when  absolutely  new. 

TAIHEI   (Case  35) 

A  potter  of  unglazed  fire-vessels,  signing  his  pieces  Taihei,  was  at  work  in  Tokyo 
in  1 890.     His  work  was  of  a  superior  character. 

4l63-     Fire-vessel.     D.  4J  in.     Black  clay,  black  polished  surface  with  light  green  areas. 
Taihei  tsukuru  (imp.).  1890 

KINKO 

A  curious  form  of  pottery  made  in  moulds,  glazed  in  strong  colors  and  bear- 
ing the  impressed  mark  Kinko,  is  said  to  have  been  made  in  Tokyo.     It  has 
the  clay  of  modern  Sumidagawa.     Hiraga  Gennai,  of  Shido,  Sanuki,  might 
have  made  it  after  he  settled  in  Tokya     This  is  only  a  surmise,  however.     It  is  abso- 
lutely without  merit. 


3o8  THE   CATALOGUE 

4164*.  Cake-plate.  D.  6J  in.  Moulded.  Scalloped  edge.  Soft  white  clay,  light  green 
glaze.  Inside,  scrolls,  formal  flowers,  etc.,  impressed  and  glazed  yellow,  dark  blue,  ^^^^ 
brown,  and  green.    Kinko  (imp.).  1850     ^g 

4164 
IMADO   (Case  35) 

Under  this  general  name  must  be  included  the  productions  of  a  number  of  potters 
who  have,  so  far  as  I  can  ascertain,  entitled  their  individual  work  Imado.     The  pieces 
are  rarely  signed.     Some  of  the  pottery  is  in  the  form  of  fire-vessels,  soft,  unglazed, 
with  polished  black  surface ;  other  forms  have  a  beautiful  mottled  glaze 
with  hard  ringing  clay.    A  number  of  red  Raku  pieces  occur  unsigned. 

4165-4180.      FiRE-VESSELS,   BOWLS,    FLOWER-HOLDERS,    INCENSE-BOXES,   etC. 

No.  4168  is  the  only  one  on  exhibition.  4179 

No.  4179  has  a  kakihan. 

KARAKU   (Case  35) 

A  potter  named  Karaku  Sanzo,  who  showed  great  skill  in  modeling  and  carving, 
has  carried  on  his  work  within  recent  years  in  Tokyo,  and  later  in  Osaka.  He  was  a 
native  of  Yumoto  in  IwakL 

4181.  Figure.  H.  4J  in.  Fawn  clay.  Face  and  body  unglazed,  surface  tinged  with  red. 
Karaku  Sanzo,  Shu  [?]  dai  (imp.).  1880 

KYOZAN  (Case  35) 

Katsu  Awa,  an  adviser  of  the  Sh5gun,  brought  a  potter  from 
Ky5to,  and  established  an  oven  at  his  residence  in 
Tokyo  in  1870.     The  pieces  were  signed  Kyozan.  » 

Some  of  the  work  had  inscriptions  upon  it  written  »SS- 

by  Awa,  and  signed  with  his  pseudonym  Kaishu  V^Gr 

and  Kyozan  impressed.  A 

4182.  Bowl.  D.  3^  in.  Light  fawn  clay,  light  yel-  ^  IW-  C^'^ 
lowish  glaze ;  rough  surface  sliced,  deeply  stained  within.  ^|  fmjL|V^ 
Inscription  in  black,  signed  Kaishu.     Kyozan  (imp.).                  9               ^  *    ™Tr 

1870  4182  4181 

4183.  Box,  in  form  of  persimmon.  D.  3  in.  Soft  white  clay,  stained  a  bright  rosy  red. 
Stopper  representing  stem  and  calyx,  glazed  green.    Kyozan  (imp.).  1870 

4184.  Incense-burner  Hotus  leaf?).  D.  4I  in.  Three  legs.  Sides  fluted.  Fawn  |ir'5»j 
clay,  light  yellow  underglaze,  reddish  overglaze  with  large  dark  purple  areas.  \w/ 
Kyozan  (imp.).                                                                                                                 1880      4184 

HEIGEN 

Among  the  Ota  potters,  near  Yokohama,  are  many  who  have  contributed  to  the 
flood  of  spurious  Satsuma,  with  which  America  and  Europe  have  been  inundated.    One 


UNIVt..SITY    )) 


CASE    35 


hill 


Hl\Z 


•fllS 


'il'«i  'il^S 


•fosi 


7;^  J. 


J-&eypy  feJ  <gB  ty.' 


S0«'»       lOSfSf       M(i<iO       'lOH    '»0%6  ',071  "lOlb  S07?        '(O80        'lOI?         «iO»l 

',038 


JrO?7 


',03?       tO'iS     ^03T.'-lO3l 
■fOVi 


•^OSS 


',030   '">tS      HO<i<)  HIOZ      ',10V 

■,116         /^^ifc** 


•tllS 


',1%*       ',1*7        ',1*6 


•,(39  ',071  SOW 


PROVINCE  OF  MUSASHI 


PROVINCE   OF  IWAKI  309 

of  the  Ota  potters,  signing  his  work  Heigen,  made  small  pieces  of  light  clay  and  glaze 
which  show  considerable  skill  in  design  and  modeling. 


4185*.     TooTHPiCK-HOLDER  (figure  holding  open  bag).    H.  3  in.   White  clay,  light  buff     t^_ 
glaze.     Figure  with  white  and  brownish  glaze.     Heigen  (imp.).  1878    4185 

MATSUYAMA  (Case  35) 

In  1 860  an  oven  was  built  in  the  town  of  Matsuyama.  The  product  consisted  of 
ordinary  tea  and  kitchen  utensils.  The  pieces  are  interesting,  as  showing  the  refine- 
ment of  a  country  potter  aspiring  only  to  make  pottery  for  the  people  of  the  neighbor- 
hood. 

4186.     Bottle.    H.  5  J  in.    Bulbous  body,  long  neck.    Light  reddish  clay,  olive-brown  glaze 
on  neck  and  part  of  body.     Remaining  surface  coarse  granulated  brown  glaze.  1878 

4l87'     CoNDiMENT-HOLDER.      D.  5  in.      Light  reddish   clay,  light  olive-brown  glaze  with 
darker  brown  overglaze.  1878 

4188.    FiRE-vESSEL.     D.  4 J  in.     Light  reddish-buff  clay,  light  olive-brown  glaze.     Rough 
drawing  of  flowers  in  white  slip.  1878 

YEDO   BANKO 

The  originator  of  Yedo  Banko  was  a  potter  who  came  from  Kuwana,  Ise.  He 
had  learned  the  secrets  of  his  art  from  Kyoto  artists.  The  excellence  of  his  work 
attracted  the  attention  of  the  Shogun,  who  invited  him  to  Yedo,  where  an  oven  was 
built  for  him  at  Kommemura.  This  was  in  1761-63.  In  1786  he  returned  to  Kuwana. 
The  opinions  are  so  various,  and  the  accounts  so  conflicting  as  to  the  identity  of  his 
Yedo  work,  that  all  the  early  pieces  bearing  the  mark  of  Banko,  either  plain  or  in  oval 
or  circular  panel,  are  for  the  present  classified  under  the  province  of  Ise. 


PROVINCE   OF   IWAKI 

The  pottery  of  this  province  is  widely  known  through  the  rough  lathe- 
turned  and  subsequently  finger-modeled  bowls  recognized  as  Soma.  The 
bowls  usually  bear  as  a  decoration  a  tethered  horse  as  well  as  the  crest  of 
the  house  of  Soma.  The  pieces  are  commonly  signed  with  the  impressed 
marks  of  Soma,  or  Kaneshige,  though  many  other  marks  occur  on  Soma 
bowls.  The  information  derived  from  Ninagawa's  work  and  other  Japa- 
nese books  has  been  scant  to  the  last  degree.  Only  recently  have  I  been 
able  to  get  further  accounts  of  the  pottery  of  this  province.  Mr.  Michi- 
taro  Hisa,  a  graduate  of  Harvard,  and  a  native  of  Iwaki,  wrote  urgent 
letters  at  my  request  to  friends  of  his  in  Nakamura,  inclosing  at  the 
same  time  copies  of  the  various  marks  found  on  Iwaki  specimens  in  the 


310  THE   CATALOGUE 

collection.  The  officers  of  that  region  have  kindly  forwarded  important 
details  of  the  early  history  of  this  pottery,  which  for  the  first  time  clear 
up  many  perplexing  questions.  From  these  accounts  it  seems  that  the 
earliest  Soma  was  a  highly  decorated  pottery  after  the  style  of  Ninsei. 
These  records  further  show  that  much  of  the  pottery  identified  as  Soma, 
and  supposed  to  have  been  baked  at  Nakamura,  was  made  at  Ohorimura, 
and  is  not  to  be  considered  as  genuine  S5ma.  The  founder  of  Soma 
pottery  was  Tashiro  Goyemon.  In  1624  the  lord  of  Soma  accompanied 
the  Shogun  (third  Tokugawa,  lyemitsu)  in  his  annual  visit  to  the  emperor 
at  Kyoto.  In  his  suite  was  Tashiro  Goyemon,  who,  if  not  a  potter,  was 
probably  an  artist,  for  his  master  being  greatly  impressed  with  the  remark- 
able character  of  Ninsei's  work  selected  Tashiro  as  the  proper  one  to 
become  an  apprentice  of  this  famous  potter.  Tashiro  remained  with  Ninsei 
for  seven  years,  and  this  great  potter  in  reward  for  Tashiro 's  diligence  and 
faithfulness  permitted  him  to  use  Sei^  one  of  the  characters  of  his  name, 
and  thus  Tashiro  Goyemon  became  Tashiro  Seijiyemon,  and  the  mark  Sd 
was  used  in  his  work.  Tashiro  returned  to  Nakamura  in  1631,  and  made 
pottery  at  the  order  of  his  master.  This  pottery  was  known  as  Omuro,  after 
one  of  the  ovens  of  Ninsei  in  Ky5to.  The  records  say  that  the  second 
Seijiyemon  made  improvements  on  the  work  of  his  predecessor.  The  mean- 
ing of  this  is  obscure,  though  it  is  probable  that  his  work  was  in  closer  imi- 
tation of  Ninsei,  for  the  lord  of  Soma  said  to  him :  "  If  you  continue  pottery 
after  Ninsei  style  the  two  essays  will  be  confounded,  and  in  course  of  time 
the  reputation  of  Ninsei  will  be  injured,  therefore  it  would  be  wiser  to  adopt 
changes  of  form,  decoration,  and  signature."  The  potter  following  this 
advice  produced  the  typical  Soma  style  known  to  us  by  the  early  examples 
of  this  pottery.  Kano  Naonobu  visited  the  province  at  this  time  and  painted 
a  running  horse  at  the  request  of  Yoshitani,  and  this  horse  was  used  as  a 
decoration  for  the  pottery.  The  date  of  this  change  was  1650.  With  this 
information  I  critically  examined  every  piece  in  the  collection  attributed  to 
Ninsei  or  to  Ninsei's  influence.  A  bowl,  with  the  mark  Seim  a  circle  within 
a  square,  and  of  Ninsei  age,  had  always  puzzled  me,  as  the  clay  was  unlike 
that  used  by  Ninsei  or  his  contemporaries,  and  the  direction  of  the  spiral 
on  the  base  was  opposite  to  that  of  the  Ninsei  spiral.  On  comparing  this 
specimen  with  the  earliest  type  of  Soma,  figured  by  Ninagawa,  the  clay  and 
spiral  were  found  to  agree.  A  jar  and  wine-bottle,  signed  with  the  same 
mark  and  identified  by  the  Japanese  as  Ninsei,  have  recently  been  added  to 
the  collection.  The  decoration  is  strictly  after  Ninsei  style ;  the  clay,  how- 
ever, is  absolutely  identical  with  that  of  an  early  Soma  in  the  collection. 


PROVINCE  OF  IWAKI  ju 

Despite  the  odd  appearance  of  these  three  brocade-decorated  specimens 
among  Iwaki  pottery,  they  are  now  placed  here  until  evidence  to  the  con- 
trary is  offered.  I  may  add  that  the  mark  must  be  extremely  rare,  as  I 
have  never  seen  the  signature  except  on  these  three  specimens  here  cata- 
logued ;  furthermore,  no  such  mark  is  recorded  as  used  by  Ninsei  or  by  any 
Kyoto  potter,  though  Ninsei  used  the  mark  Sei  in  a  square  panel  on  some 
of  his  work. 

SEIJIYEMON   (Case  36  and  Plate  XXV.  4191) 

It  is  difficult  to  determine  whether  the  three  specimens  herein  catalogued  are  the 
work  of  the  first  or  second  Seijiyemon. 

4Io9-     Bowl.     D.  4}  in.     Dark  fawn  clay,  light  fawn  glaze.     Under-decoration  of  house 
and  trees  in  grayish-blue.     New  Year's  decoration  of  pine  and  bamboo  in  blue, 
green,  and  pale  purple  enamels  and  red  and  gold.     Left-hand  spiral  on  base. 
Sei,  in  circle  within  square  (imp.).  1648 

4190.  GouRD-SHAPED  WINE-BOTTLE.     H.  6f  in.     Thick  and  heavy.     Fine  gray-         '*'^ 
drab  clay,  light  grayish-fawn  glaze  strongly  crackled.     Over-decoration  of  pinks  and  fence  in 
dull  blue  and  green  enamels  and  red  and  gold.     Around  shoulder  leaf  design  in  green  and 
blue  enamel.     On  neck,  red  fret.     Sei,  in  circle  within  square  (imp.).  1648 

4191.  Jar.  H.  6|  in.  Coarse  dark  fawn  clay,  light  fawn  glaze  finely  crackled,  much 
stained.  Chrysanthemums  and  pinks  in  blue  and  green  enamels  with  red  and  gold.  Around 
neck,  diaper  in  blue  enamel  with  red  and  gold.     Sei,  in  circle  within  square  (imp.),  1648 

KANAYA   (Case  36) 

The  only  piece  signed  by  this  potter  is  accompanied  by  an  inscription  which  states 
that  he  was  the  grandson  of  the  third  generation,  and  presumably  in  the  line  of 
Seijiyemon.     The  year  period  and  year  are  also  given,  which  indicates 
the  date  of  1746;  and  an  inscription  which  reads  Daisanyo  Temple. 
It  is  the  oldest  piece  in  the  collection  signed  Soma. 

4192.  Circular  tablet,  perforated  for  hanging.  D.  9^  in.  Coarse 
hard  gray-drab  clay,  fawn  glaze.  Pine  tree  and  monkeys  moulded  in  high 
relief  and  applied,  glazed  dark  brown  and  green.  Soma  Nakamura  (inc.). 
Also  the  inscriptions,  Enkio  san  Himye  tora  Ten.  Roku  gatsu  ju.-go-niehi. 
Koka  sandai  no  mago,  Kanaya  tsukuru.  »746 

SOMA  (Case  36  and  Plate  XXV.  4193,  4194)  ]^f^ 

The  first  Soma  with  horse  decoration  was  made  by  the  second  I 

generation  of  Seijiyemon  in  1650.     The  bowl  figured  by  Ninagawa  «.    •    • 

was  probably  made  by  the  third  generation  of  this  family,  as  a  typical 
Soma  in  the  collection,  with  drawing  of  horse,  seems  much  nearer  in 
clay  and  age  to  the  work  of  Seijiyemon  above  described.  True  Soma 
was  made  in  Nakamura  by  successive  generations  of  the  founder.  '*'^^ 

Within  recent  years  the  name  Tashiro  has  been  impressed  on  Soma  pottery,  and 


312  THE   CATALOGUE 

pieces  bearing  this  mark  will  be  considered  under  that  name.  True  Soma,  with  the 
exception  of  the  recent  Tashiro's  work,  and  one  piece  in  which  the  mark  is  incised, 
bears  no  signature.  The  early  pieces  show  more  vigorous  drawing,  and  are  charac- 
terized by  a  certain  refinement  of  form  and  style.  The  old  name  for  Soma  pottery 
was  Otomi,  meaning  "  honorable  monopoly." 

4^93-  Plate.  D.  6|  in.  Rim  with  six  scallops.  Coarse  dark  gray-drab  clay,  gray-drab 
glaze  coarsely  crackled.    Inside,  three  horses  in  olive-brown.  1650 

4194.     Bowl,  sides  sliced  in  three  places  and  lapped  over,  with  knobs.     D.  4|  in.     Light 
fawn  clay,  thin  yellowish-white  glaze  spotted  with  brown.     Inside  and  out,  horse  in  brown. 
Type  Ninagawa.     Part  III.,  Fig.  31.  1680 

4^95-     Bowl.     D.  4  in.     Coarse  Japanese  yellow  clay  and  glaze.     Horse  in  brown.       1750 

419^-     Plate.     D.   7  J  in.     Rim  with  five  scallops.     Perforated   design  of  cherry  petals. 
Light  fawn  clay,  grayish-fawn  underglaze,  fawn  overglaze.   Inside,  five  horses  in  brown,    1780 
Type  Ninagawa.     Part  III.,  Fig.  32.  , 

4197.    Plate,  somewhat  similar  to  last.  1780 

419^-  Tea-bowl.  D.  4f  in.  Light  fawn  clay,  coarse  light  fawn  glaze,  roughened  below. 
Encircling  band  of  large  circles  overlapping,  in  blue  enamel.     Strong  left-hand  spiral.      1780 

4199.  Tea-cup.  1780 

4200.  Bowl,  symmetrically  turned.  D.  4J  in.  Fine  hard  gray-drab  clay,  gray  glaze  with 
minute  brown  spots.  1780 

Considered  by  Ninagawa  the  earliest  Soma,  with  the  date  of  1630. 

4201.  Bowl.  D.  5J  in.  Gray-drab  clay,  thin  light  gray  under  and  overglaze.  Horses, 
inside  and  out,  in  brown.  1800 

4202.  Cake-plate.  D.  6f  in.  Fawn  clay,  olive-gray  glaze.  One  third  of  vessel,  inside 
and  out,  thick  white  glaze,  upon  which,  inside,  is  rough  sketch  of  flowers  in  dark  brown.    1800 

Very  rare  type. 

4203-    Square  tray.     W.  ii  in.     Grayish-yellow  clay  and  glaze.     Horses  in  brown.     1840 

4204.  Haisen.  D.  5I  in.  Coarse  gray-drab  clay,  thin  greenish-gray  glaze,  surface  rough- 
ened.    Horses  in  brown.  1850 

TASHIRO   (Case  36) 

The  twelfth  generation  of  Seijiyemon  was  at  work  in  Nakamura  thirty  years  ago. 
In  1867  he  went  to  Kyoto,  and  there  presented  Soma  pottery  made  by  him  to  the 
imperial  household.  In  recognition  of  his  loyalty  and  talent  he  was  given  the  honorary 
title  of  Hokio,  and  thenceforward  often  signed  his  work  Tashiro  and  Hokio.  For  a 
short  time  his  work  was  known  as  Goyo  Toku  (royal  permission),  and  was  not  put 
upon  the  market  for  sale.     His  reputation  was  greatly  enhanced  by  this  attitude. 

4205>  Oblong  cake-dish.  L.  7  in.  Coarse  light  gray  clay,  transparent  underglaze,  thick 
glassy-green  overglaze  coarsely  crackled.     Horses  in  brown  inside  and  out.  1850 

4206.  Haisen.  D.  5  in.  Gray-drab  clay,  light  gray  glaze  spotted  with  brown.  Inside, 
thick  glassy-green  overglaze  running  over  rim,  coarsely  crackled.  Outside,  three  horses  in 
brown.  1850 


^\ 


i 


PROVINCE   OF  IWAKI  313 

4207'  Tea-pot.  D.  3  in.  Gray-drab  clay,  warm  gray  glaze.  Handle,  nozzle,  rim,  and 
knob  of  cover  deep  blue  overglaze.     Tashiro  ?  written  in  brown.  1850 

4208.  Double   bowl.     D.   3J   in.     Outside   bowl  with   perforated  cherry       %  ^1 
petals.     Coarse  light  gray-drab  clay,  rough  surface,  light  fawn  glaze.     Inside,        f^Jal^ 
deepest  blue  glaze  clouded  and  running  over  rim.  1850 

4209.  Gourd-shaped  wine-bottle.    H.  7J  in.    Coarse  gray-drab  clay,  gray- 
ish-drab glaze.     Neck  bright  blue  glaze,  on  which  is  silvered  horse.   On  body,  "ifcrfw 
horses  in  brown.                                                                                               i860  CSSK 

4210.  Cake-plate,  scalloped  edge,  perforated  designs.     D.  6}  in.         i860 

4211.  Bowl.    D.  3^  in.     Thick  and  solid.     Light  fawn  clay,  glassy  yellow- 
ish-white glaze  spotted  with  brown.     Kirimon  in  white  slip  in  high  relief,  evi-  4207 
dently  made  with  stencil.     Kikumon  in  dark  blue.                                        1867 

Probably  one  of  the  specimens  made  as  a  gift  to  the  Imperial  Household. 

4212.  Handled  vessel,  with  spout.  L.  5  in.  Fawn  clay,  light  olive-green  underglaze. 
Inside,  thick  green  glaze  coarsely  crackled.     Tashiro  and  Hokid  (imp.).  1868 

4213-     Incense-box.     D.  z^j  in.     Coarse  light  fawn  clay,  greenish-gray  glaze.     In- 
side, transparent  glaze.     Horse  in  brown.     Tashiro  tsukuru,  and  Hokid  (imp.),      1868 

4214,  4215.    Jar  and  cup. 

4213 
NAKAMURA   (Case  36  and  Plate  XXV.  4222) 

Under  this  name  may  properly  be  included  a  number  of  forms  which  are  referred 
to  the  village  of  Nakamura,  and  doubtless  made  by  Soma  potters.  They  differ  from 
true  Soma  in  form  and  decoration,  and  are  rarely  signed.  In  a  few  cases  a  resem- 
blance is  seen  to  Maiko  pottery. 

4216.  Tea-bowl.  D.  4^  in.  Light  brown  clay,  bluish-green  underglaze,  olive-green  over- 
glaze.  White  slip  moulded  in  wave  lines  in  high  relief  with  moulded  shells  applied  and 
glazed  deep  olive-green.     Inside,  horse  in  white  slip.  1830 

4217.  Bowl,  similar  to  last.  1840 

4218.  Covered  jar.  H.  13^  in.  Light  gray  clay,  glassy  bluish-green  glaze.  Moulds  of 
various  shells  applied  and  glazed  light  maroon  and  dull  grayish-green.  Surface  with  various 
depressions.  i860 

4219.  Covered  jar.  H.  5J  in.  Vertical  depressions  on  side.  Coarse  light  fawn  clay 
with  light  granules,  warm  greenish-gray  glaze  mottled  with  brown.  Seaweed  and  moulded 
shells  in  relief,  glazed  brown  and  light  grayish-green.  i860 

4220.  Cake-plate,  deeply  modeled  by  hand. 

422X.  Gourd-shaped  bottle.  H.  6J  in.  Fine  light  brown  clay,  lower  bulb  brown  glaze, 
strongly  curdled.     Neck  clear  green  glaze  mottled.     Shoda  (imp.).  1850 

Gift  of  Mr.  Durand-Ruel. 

4222.  Gourd-shaped  bottle.     H.  3^  in.     Light  fawn  clay.     Upper  portion  deep 
seal-brown  glaze;  lower  portion,  glistening  drops  of  light  brown  glaze.  i860       ^^ 

4223.  Similar  to  last.     H.  iiJ  in.  Modern 


314  THE   CATALOGUE 

KOMARU   (Case  36  and  Plate  XXV.  4224) 

A  potter  by  the  name  of  Komaru  Utanojo  of  Ohorimura  made  pottery  after  Soma 
models.     His  work  began  in  18 16.     He  used  the  signatures  Komaru  and  Rakuzan. 


FIRST   GENERATION 

4224.  Incense- BOX,  figure  modeled  on  cover.     D.  2^'^  in.    Light  fawn  clay,  thin  yellowish- 
white  glaze.     Horses  in  brown.     Komaru  (imp.).  1820 

4225.  Tea-bowl,  deeply  modeled  by  fingers.  D.  3J  in.  Hard  light 
gray  .clay,  transparent  underglaze.  Inside,  light  green  overglaze.  Out- 
side, horse  moulded  and  applied,  glazed  white,  shaded  with  dark  blue. 
Inside,  blue  horse,  underglaze.    Rakuzan  (imp.).  1830 


4224 


m 

4225 


SECOND  GENERATION 

The  second  generation,  known  as  Komaru   Tatsu-no-Shin,  continued   the  oven, 
beginning  in  1838.     His  pieces  are  signed  with  Zen  and  an  obscure  mark. 

4226.  Tea-bowl.  D.  3I  in.  Thick  and  heavy.  Successive  finger-impressions  in  vertical 
lines.  Brown  clay,  light  brownish-green  glaze,  outside  tinged  with  red.  Inside,  light  maroon 
overglaze  running  over  rim.     Zen  i  [?]  (imp.)  on  side. 

THIRD   GENERATION 

The  third  generation,  Komaru  Kumazo,  is  still  at 
work  at  Ohorimura. 

4227.  Leaf-shaped  dish,  modeled  by  hand.  D.  3J  in. 
Very  light  gray  clay,  thick  light  greenish  glaze  coarsely 
crackled.     Soma  and  Komaru  tsukuru  (imp.).  1880 


43*7 


4226 


YAMADA   (Case  36) 

Yamada  Yojiro  was  a  skilful  potter  of   Ohorimura,  and  made  cups  after  Soma 
models.     His  work  dates  from  1850. 

FIRST  GENERATION 

4228.    Cup,  deeply  indented  by  finger.     D.  2J  in.    Fine  gray-drab  clay,  light  fawn  glaze 

spotted  with  brown.     Horse  applied,  shaded  with  brown. 

Yamada  (imp.).  1850 


SECOND   GENERATION 


Ota 

IS) 

Z. 

4228 


A  second  generation,  known  as  Yamada  Iwaji,  is  at  work 
to-day  turning  out  quaint  dishes  decorated  with  mushrooms,  etc.,  in  relief. 

4229.     Haisen,   irregular   shape,  strongly  indented.     D.   7   in.     Light  gray 

clay,  light  gray  glaze  with  irregular  band  of  maroon  and  bluish  overglaze. 

Around  rim  leaf  design  impressed.     Toadstools  modeled  and  applied  outside.     Inside,  horse 

in  brown.    Otsu  and  Zen  (imp.).    Zen  has  also  been  read  Tane  of  Yoshitane,  a  former  Daimyo 

of  the  province.  1880 


4229 


PROVINCE   OF  IWAKI 


31S 


HANGAYA  (Case  36) 

Hangaya  Noritatsu,  second  son  of  Tatsu-no-Shin,  made  fine  Soma  bowls  signed  with 
the  mark  Soma  in  double  gourd.     He  is  still  living. 

4230.  Tea-bowl,  strongly  indented.  D.  3I  in.  Very  light  fawn  clay 
and  glaze,  closely  mottled  with  light  brown.  Inside,  transparent  over- 
glaze  and  horse  applied.     Soma,  in  double  gourd  (imp.).  1870 

423I)  4232.    Tea-bowls,  similar  in  character  to  last,  with  same  marks. 

4230  4232 

SAKAMOTO  (Case  36) 

Large  Soma  bowls,  bearing  the  mark  Soma  and  crest,  are  attributed  to  Sakamoto 
Uraejiro,  who  made  pottery  in  Ohoriraura  within  recent  years. 

4233-    Tea-bowl.     D.  4  in.     Heavy  and  thick.     Hard  fawn  clay,  transparent  underglaze 
exposed    within,    nearly    black    overglaze    outside,   with 
roughened    portions    brown.      Inside    basal    ring,    light 
maroon  glaze.     Disk-like   ornamental   devices  impressed 
around  lower  portion.     Soma  and  crest  (imp.).  1880 


SOBIYO  (Case  36) 

Among  the  numerous  potters  of  Ohorimura  was  one 
signing  his  pieces  Sobiyo.     He  was  at  work  in  1880. 


4233 


4234 


4234-    Tea-bowl.     D.  3I  in.     Fret  impressed  around  rim,  light  gray-drab  clay  and  glaze, 
transparent  overglaze  inside.    Applied  horses,  inside  and  out.    Sobiyo  and  Sho  (imp.).     1870 

SHOFODO   (Case  36) 

A  bowl  made  in  Ohorimura  bears  the  impressed  mark  Shofudo.    No  information  is 
at  hand  concerning  the  potter. 

4235*     Tea-bowl.     D.  3}  in.      Heavy  and  thick.     Very  light  fawn  clay,  light  gray 
glaze  mottled  with  large  dark  brown  spots.    Inside,  glassy  green  glaze. 
Shofudo  (imp.).  187s      ^^^j 

Gift  of  Denman  W.  Ross. 


KONDO  (Case  36) 

A  potter  of  considerable  skill,  named  Kondo  Tomisaku,  made  among 
other  forms  pieces  with  perforated  decoration  in  the  shape  of  plum  blos- 
soms and  gourds.  In  some  of  his  work  the  clay  is  very  fine  and  glaze 
delicate. 

FIRST   GENERATION 

4236.  Cake-plate,  double  plum  blossoms  perforated  on  inner  and  outer  walls. 
D.  sf  in.  Fine  light  gray  clay,  thick  light  green  glaze.  Moulded  horse  inside. 
Soma  and  Zen  (imp.).  1850 


4236 


3i6 


THE   CATALOGUE 


4^37'  Large  bowl,  with  rim  in-tunied  and  adherent.  D.  7  in.  Designs  of  gourds  per- 
forated, and  on  rim  modeled  fungi.  Fine  fawn  clay,  grayish-green  glaze,  irregular  narrow 
band  of  maroon  overglaze,  mottled  with  light  green.     Inside,  two  horses  in  black. 

4238.  Bowl.  D.  3J  in.  Light  gray  clay  and  glaze.  Inside,  glassy  green  glaze  flecked 
with  deep  maroon  running  over  rim,  horse  in  black.  Outside,  waves,  lines  and  other  designs 
impressed  and  incised.  1850 

4239-  Double  bowl,  plum-blossom  perforated.  D.  t,\  in.  Fine  light  gray  clay,  lustrous 
light  gray  glaze  spotted  with  brown.  Inside,  green  overglaze.  On  rim,  inside  and  out, 
maroon  flecked  with  blue.     Horse  in  olive-brown  outside.  1850 

4240,  424'-    Tea-cups,  very  delicately  made, 

SECOND   GENERATION 

A  cup  of  Soma  style  is  identified  by  the  mark  as  having  been  made  by  Kondo 
Takakage.  It  is  not  known  with  certainty  whether  Takakage  was  a  successor  of 
Tomisaku.     The  cup  is  included  here  for  the  present. 

4242.  Cup.  D.  2f  in.  Very  light  fawn  clay,  light  fawn  glaze  strongly  mottled  with  /{gk 
brown.  Horse  tethered  to  post,  and  crest  applied  outside.  Horse  in  relief  inside.  &i 
Soma  (imp.).  1875      4242 

SHIGA   (Case  36) 

A  modern  production  of  Ohorimura  is  made  by  Shiga  Kinjo.  The  single  specunen 
in  the  collection  shows  some  skill  in  modeling. 

4243.  Square  cake-dish.  W.  sf  in.  Rim  moulded  in  open  basket-work. 
Japanese  yellow  clay.  Basket-work  and  outside  gray  glaze.  Inside,  unglazed, 
touches  of  overglaze  showing  various  colors.  Inside,  tethered  horse  moulded 
and  applied,  glazed  gray  and  brown.     Soma  (imp.).  1880 


^^ 


4243 


KANASHIGE   (Case  36) 

Bowls  differing  in  no  respect  from  typical  Ohori  Soma  bear  the  impressed  mark 
Kanashige.     These  were  made  by  Amano  Kanashige,  who  is 


4244 


4247 


4251 


still  Uving. 

4244-4252.    Tea-cups  and  tea-bowls  in  typical  Soma  style. 
Kanashige  (imp.).  1850-70 

OHORI   SOMA   (Case  36) 

Under  this  name  are  included  a  number  of  objects,  many  of  which  bear  the  signature 
of  Soma.  Some  of  these  objects 
show  the  work  of  skilful  artists. 
4253~428o.  Tea-bowls,  tea-cups, 
tea-pots,  plates,  jar,  etc.,  after  Soma 
style,  mostly  signed  with  the  impressed 
mark  Soma. 


*l 


4264 


4281.     Irregular-shaped  cup.     D.  3I  in.     Deep  brown  clay,  dead  brown  underglaze,  light 
gray  overglaze  mottled  with  brown.     Inside,  pine  disks  applied.     Zenshun  (imp.).  1880 


PROVINCE   OF  RIKUZEN  317 

4282.  Jar.     H.  7I  in.     Moulded  by  hand,  with  large  tuberosities,  ring  handles  adherent 
Light  fawn  clay,  dull  light  olive-greenish  glaze  mottled  with  brown. 
Zenshun  (imp.).  1880 

These  pieces  are  placed  here  doubtfully.     ■ 

HIRONO    (Case  36)  4282 

Within  recent  years  a  pottery  with  typical  Kiyomizu  glaze  and  decoration  has  been 
made  in  the  village  of  Hirono.     Nothing  is  known  about  the  potter,  and  I  have  grave 
doubts  about  the  piece  being  placed  here,  despite  the  testimony  of  a  native  of 
Iwaki. 

4283.  Jar.  H.  s  in.  Gray-drab  clay,  light  gray  underglaze,  large  area  of  thick 
white  overglaze,  upon  which  are  splashes  of  thick  green  glaze.  Circles,  etc.,  in 
brown.     Hirono  (imp.).  1880       4283 


PROVINCE   OF   RIKUZEN 

But  little  information  is  at  hand  regarding  the  pottery  of  this  province. 
A  large  square  tea-pot,  with  thin  walls  and  dull  black  glaze,  comes  from  the 
Ninagawa  collection  as  having  been  made  in  Sendai  in  i860.  A  tea-jar 
with  a  similar  glaze  is  also  identified  as  Sendai ;  two  bowls,  one  of  which 
has  the  same  clay  and  glaze,  are  placed  here  provisionally,  and  a  number  of 
gourd-shaped  bottles  with  impressed  basket-work,  identical  to  that  shown 
on  the  bowls,  are  also  grouped  with  them.  These  bottles  have  been  identi- 
fied as  Nakamura,  but  I  can  find  no  record  of  any  such  pottery  having  been 
made  in  Nakamura  or  Ohorimura ;  so  by  a  process  of  exclusion  they  are 
with  much  misgiving  grouped  under  this  province. 

SENDAI   (Case  36) 

4284.  Large  square  tea-pot.  Extreme  height  6f  in.  Japanese  yellow  clay,  dead  black 
glaze.  On  the  four  sides  panels  of  diaper  with  pines  and  figure,  moulded.  Mythological  ani- 
mal rudely  modeled  for  handle  of  cover.  i860 

4285.  Tea-jar.     H.  2|  in.     Dull  black  glaze  covering  base  as  well. 

4286.  Tea-jar.  H.  2J  in.  Knobs  around  neck.  Dark  clay  showing  dull  black  surface 
outside,  thick  bluish-black  glaze,  clouded.     Three  bands  of  zigzag  lines  incised  around  body. 

4287.  Bowl.  D.  3J  in.  Light  fawn  clay.  Lower  two  thirds  strongly  indented  to  repre- 
sent basket-work,  with  thin  light  brown  glaze ;  upper  third  and  inside,  deepest  brown  Seto 
glaze.  1780 

4288.  Tea-bowl.  D.  45  in.  Fine  gray  clay,  dull  brown  glaze.  Around  rim,  inside  and 
out,  thick  bluish  overglaze.     Surface  marked  by  impressed  basket  pattern.  1780 


3i8  THE   CATALOGUE 

4289.  Tea-bowl,  similar  to  last.  D.  4J  in.  Hard  gray-drab  clay,  light  brown  glaze. 
Around  rim,  inside  and  out,  thick  rich  dark  brown  overglaze.  1800 

4290.  Bottle.  H.  8|  in.  On  shoulder  a  twisted  band.  From  band  to  base  basket-work 
impressed.  Light  gray-drab  clay,  light  brown  glaze.  On  neck  and  running  down  on  body 
grayish  overglaze  clouded  and  iridescent.     Basal  ring  in  form  of  twisted  band.  1800 

429Z.  Double  gourd-shaped  bottle.  H.  7^  in.  Basket-work  of  various  designs.  Hard 
gray-drab  clay,  light  yellowish-brown  glaze.  Upper  portion  thick  dark  brown  overglaze; 
lower  portion  impressed.  1835 

4292.  Bottle.     H.  8  in.     Similar  to  last. 

4293.  Bottle.     H.  8i  in.     Similar  to  last. 

4294.  Double  gourd-shaped  bottle.  H.  ■^■^  in.  Hard  fawn  clay,  irregular  splashes  of 
deepest  brown  and  green  glaze  on  unglazed  surface.  1835 

Gift  of  Bunkio  Matsuki. 

MATSUSHIMA   (Case  36) 

A  thick  yellow  glazed  Raku  pottery  has  lately  been  made  in  the  village  of  Nakakaji, 
near  SendaL  This  pottery  is  sold  at  Matsushima  as  souvenirs  of  that  beautiful  place 
of  resort. 

4295.  Shallow  bowl.  D.  5J  in.  Soft  Raku  clay.  Outside,  light  pink  Raku  glaze  with 
lemon-colored  areas.  Inside,  yellowish-white  glaze  with  island  and  pine  roughly  sketched  in 
blue.  1890 


PROVINCE  OF  OSUMI 

Certain  specimens  of  finely  crackled  white  Satsuma,  in  some  cases 
almost  crystalline  in  appearance,  bearing  evidences  of  considerable  age,  are 
referred  to  Chosa,  Osumi,  by  Japanese  experts.  It  is  recorded  that  at  this 
place  the  Korean  potters  who  settled  in  Satsuma  first  discovered  the  white 
clay,  and  made  the  white  crackled  faience.  This  was  the  origin  of  the 
famous  white  Satsuma.  It  is  said  that  the  making  of  this  pottery  continued 
as  late  as  1 789. 

CHOSA  (Case  38) 

4296.    Bowl.     D.  5I  in.     Thick  and  heavy.     Whitish-fawn  clay  and  glaze,  fine  crystalline 
crackle.  1630 

4297*    Bowl.     D.  5  in.    Nearly  white  clay,  whitish-fawn  glaze.     Faint  decoration  of  leaf  in 
light  blue.  1650 

4298.    Bowl.     D.  5  in.     Whitish-fawn  clay  and  glaze.     Two  mallets  in  blue.     Basal  ring 
with  three  notches.  1680 


CASE    36 


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S169 


PROVINCES  OF  IWAKI   AND   RIKUZEN 


PROVINCE   OF  SATSUMA  319 

PROVINCE   OF  SATSUMA 

The  name  of  Satsuma  is  widely  known  abroad  by  its  peculiar  crackled 
faience  decorated  in  vitrifiable  enamels  and  gold.  Enormous  quantities  of 
this  pottery  have  been  made  within  the  last  thirty  years  solely  for  export  to 
America  and  Europe,  and  but  little  of  it  has  been  made  in  Satsuma.  The 
genuine  old  Satsuma,  which  this  so-called  Satsuma  is  supposed  to  resemble, 
is  only  one  of  many  distinct  types  known  in  Japan  under  the  generic  name 
of  Satsuma.  The  specific  names  known  to  the  Japanese  are  descriptive, 
such  as  crackled  {Hibi),  brocade  painted  {Nishikt-de),  shark  skin  {Same), 
Seto  glaze  {Seio-kusuri),  tortoise-shell  (Betsu-kafu\  and  also  names  the 
origin  of  which  is  doubtful  or  obscure,  as  Mishima  and  Sunkoroku.  It 
has  been  a  matter  of  great  perplexity  to  arrange  these  types  either  as  to 
potter  or  place  of  baking.  The  difficulty  arises  from  the  fact  that  the 
same  signature  is  often  found  on  widely  different  types  of  Satsuma,  and, 
furthermore,  that  identical  kinds  of  pottery  were  made  in  a  number  of  dif- 
ferent places.  To  add  to  the  difficulty,  the  marks  are  not  common,  and 
some  of  these  have  thus  far  proved  absolutely  undecipherable.  The  only 
logical  way  is  to  arrange  the  pieces  according  to  their  marks  when  they 
occur,  though  by  so  doing  the  types,  as  recognized  by  the  Japanese,  would 
be  thrown  together.  Other  pieces  which  cannot  be  classified  as  above  will 
be  recognized  under  their  Japanese  names  as  Mishima,  Seto-kusuri,  etc. 
Satsuma  is  indebted  to  Korea  for  at  least  three  distinct  types  of  pottery. 
Shimadzu  Yoshihiro,  a  feudal  lord  of  Satsuma,  accompanied  Hideyoshi  in 
the  invasion  of  Korea  in  1592.  On  his  return  he  brought  back  with  him 
to  Satsuma  a  number  of  skilled  potters  who  began  work  near  Kagoshima, 
the  capital  of  the  province.  Afterwards  a  few  potters  were  sent  to  Chosa, 
in  Osumi,  an  adjacent  province,  at  which  place  the  first  white  crackled  faience 
was  made.  Sir  Ernest  Satow  in  his  interesting  article  on  the  Korean  Pot- 
ters in  Satsuma  (Proceedings  Asiatic  Society  of  Japan,  1878)  gives  a  list  of 
the  names  of  these  families.  He  further  states  that  their  descendants  con- 
tinue to  this  day  as  potters,  and  that  their  work  is  cooperative.  In  this  list 
the  name  Boku  occurs,  and  various  chroniclers  record  a  Boku  as  a  skilful 
potter.  Mr.  Matsuki,  to  whom  I  am  much  indebted  for  various  records, 
learned  that  a  Boku  was  making  pottery  in  Satsuma  in  1781.  The  marks 
Ho-hei,  Hd-ju,  Ho-yei,  etc.,  are  found  on  double  gourd-shaped  bottles  of 
Seto  glaze  and  Mishima,  and  these  are  probably  the  work  of  descendants 
of  the  Boku  family  to-day.  Chin,  another  name  occurring  on  the  list,  has  a 
descendant  making  pottery  at  Ijuin,  near  Kagoshima. 


320  inis-umjiLOGUE 

SATSUMA   (Cases  37  and  38  and  Plate  XXVI.  4305,  4309,  4313,  4315) 

The  Japanese  usually  designate  the  tea-jars  by  the  name  of  the  province  in  which 
they  were  made.  The  conspicuous  exceptions  are  Karatsu,  Shigaraki,  Takatori,  and 
Seto.  Following  this  practice,  the  general  name  Satsuma  will  be  retained  for  the  tea- 
jars  of  this  province.  Ninagawa  recognized  a  double  gourd-shaped  tea-jar  as  Riumonji, 
or  Tatsumonji,  from  the  place  in  which  it  was  made.  This  tea-jar  differs  in  no  respect 
from  the  other  jars  except  in  form.  The  collection  includes  many  varieties;  and, 
while  their  various  ages  may  be  guessed  at,  the  place  of  potting  cannot  be  determined. 
Many  of  the  early  ones  were  probably  made  at  Tsuboya.  One  of  the  types  of 
Ninagawa  resembles  very  closely  in  form  a  jar  found  among  ancient  Chinese  pieces 
discovered  in  caves  in  Borneo,  an  example  of  which  is  in  the  Trocadero  Museum  in 
Paris.  The  distinguishing  characteristics  of  the  Satsuma  tea-jars  are  their  olive-green 
glaze  and  left-hand  thread-mark.  Occasionally  Tamba  and  Takatori  tea-jars  resemble 
in  a  way  the  Satsuma  type. 

4299.  Tea-jar.  H.  4  in.  Fine  dark  gray  clay,  light  gray  underglaze  mottled  with  brown, 
olive-brown  overglaze  flecked  with  white.  1600 

4300.  Tea-jar,  nearly  straight  sides.  H.  3  in.  Fine  reddish-brown  clay,  thick  brown 
underglaze,  olive-green  overglaze  with  large  fawn  areas.  1600 

4301.  Tea-jar.  H.  2\  in.  Thick  and  solid.  Fine  hard  brown  clay,  thick  olive-brown 
glaze,  showing  rich  brown  inside.     Concave  bottom  with  four  circles  equidistant.  1600 

4302-4304.    Tea-jars.  1600-1630 

4305.  Tea-jar.  H.  3jin.  Ochre  clay  and  underglaze ;  chocolate-brown  overglaze  with  splash 
of  luminous  olive-brown  glaze  flecked  with  white.     Smooth  bottom,  spur-mark  annular.    1630 

4306-4308.    Tea-jars.  1630-1650 

4309.  Tea-jar,  gourd-shaped,  looped  handles.  H.  2\  in.  Coarse  buif  clay,  dull  gray-drab 
clay,  whitish  on  handles  and  rim.     Obscure  thread-mark.  1665 

Type  Ninagawa.     Part  III.,  Fig.  26. 

This  is  the  jar  that  resembles  in  form  the  ancient  Chinese-Borneo  specimen  in  the 
Trocadero  Museum. 

4310.  Tea-jar.  H.  3f  in.  Light  reddish-brown  clay,  fawn  underglaze,  rich  olive-brown 
overglaze,  strongly  flecked  with  white  with  bluish  tinges.  1680 

4311.  4312.  Tea-jars.  1680 
4313-  Tea-jar,  gourd-shaped.  H.  3I  in.  Reddish-brown  clay,  dark  fawn  underglaze, 
lustrous  olive-brown  overglaze  with  area  of  light  blue  fleckings.  1680 

Recognized  by  Ninagawa  as  Riumonji. 

4314.  Tea-jar.     H.  3^  in.     Reddish-brown  clay,  olive-green  glaze  mottled  with  J 
olive-brown  overglaze  running.     Smooth  bottom.  1700  f 

4315.  Tea-jar.     H.  j,\  in.     Two  small  knobs  on  shoulder.  Brown  clay,  thick  y^ 
dull  purplish-brown  glaze.     Strong  right-hand  thread-mark.  1725  ^"^ 

Type  Ninagawa.     Part  III.,  Fig.  27. 

4316.  Tea-jar.  H.  2%  in.  Dark  drab  clay,  dull  olive-brown  underglaze,  glistening  dark 
brown  overglaze  running  into  rich  fawn  flecked  with  white.  Ta  and  ?  (inc.).  1730 
4317-4325-    Tea-jars.                                                                                             1730-1830 


PROVINCE   OF  SATSUMA  321 

TSUBOYA  (Case  38  and  Plate  XXVI.  4332,  4336) 

A  form  of  pottery  attributed  to  the  early  work  of  Korean  potters  in  Tsuboya  is 
easily  distinguished  by  the  olive-green  glaze  and  coarse  reddish  clay.  The  type  of  this 
form  may  be  seen  in  the  large  jar  (Cat.  No.  4326)  made  for  brewing  sake.  Ninagawa 
figures  this,  and  states  it  was  made  by  Koreans  in  Tsuboya.  It  was  further  recorded 
by  him  that  the  earliest  work  was  made  of  Korean  earth  and  glazing  materials.  Other 
forms  having  more  or  less  resemblance  to  this  type  are  grouped  under  the  name 
Tsuboya  for  convenience  of  designation. 

4326.  Jar.  H.  19  in.  Globular  body,  constricted  neck,  and  flaring  rim.  Coarse  reddish- 
brown  clay,  thick  olive-green  glaze  running  in  long  streams  and  terminating  in  drops  on 
unglazed  surface  below.     Strongly  clouded.  1600 

Type  Ninagawa.     Part  III.,  Fig.  25. 

Remarkably  beautiful  in  form. 

4327'     Parching-pan.     D.  7I  in.     Coarse  brown  clay,  olive-brown  glaze  mottled.  1600 

4328.  Tea-jar.  H.  2  in.  Grayish-brown  clay,  olive-green  glaze  with  large  areas  of 
greenish  overglaze.     Bottom  indented.  1600 

4329-     Jar,  with  looped  handles.     H.  4J  in.  1600 

4330'     Tea-bowl.     D.  5^  in.     Reddish-brown  clay,  thick  reddish-brown  glaze.  1600 

4332.  Globular  jar.  H.  6  in.  Light  dull  brown  clay,  clear  brown  glaze  with  delicate 
streams  of  olive-fawn  and  darker  mottling.  1630 

A  remarkable  example. 

4333-  Water-jar,  with  flaring  rim.     H.  6]^  in.     Thick  and  heavy.  1700 

4334-  Bowl,  thick  straight  sides.  D.  3I  in.  Dull  brown  clay,  thick  dull  olive -brown 
glaze  with  areas  of  lustrous  dark  bluish-brown,  iridescent.  1700 

Gift  of  Denman  W.  Ross. 

4335-  Jar.     H.  6J  in.  1780 

4336-  Bowl,  sides  compressed.  D.  4  in.  Dull  brown  clay,  mottled  brown  underglaze 
with  areas  of  olive-fawn  overglaze ;  around  rim  lustrous  brown  glaze  running,  flecked  with 
white  and  light  blue.  1780 

SUNKOROKU   (Case  37  and  Plate  XXVI.  4337,  4338) 

A  hard  stone  pottery  with  dull  yellowish  or  grayish  clay  (that  having  the  former 
color  being  the  oldest),  with  a  peculiar  archaic  decoration  of  scrolls  and  diapers,  rarely 
landscapes,  carefully  drawn  in  dark  brown,  is  known  to  the  Japanese  as  Sunkoroku. 
One  piece  has  an  undecipherable  mark,  another  has  scratched  through  the  glaze  the 
mark  Tama.  The  work  Tokiko  says  that  the  word  Sunkoroku  ought  to  be  written 
Rosokoroku.  It  further  adds  that  Sun  stands  for  the  Chinese  dynasty,  and  Koroku 
the  name  of  a  pottery.  Whatever  the  origin  of  the  style  of  decoration,  it  forms  a  most 
unique  type. 

4337'  Tea-bowl.  D.  s  in.  Yellowish-white  clay  and  glaze.  Band  of  spiral  lines,  dots 
and  zones  in  olive-brown.     Coarsely  crackled.  1630 

An  extremely  rare  object 


322 


THE   CATALOGUE 


433^*  Tea-pot,  loops  for  bail.  D.  3  in.  Light  fawn  clay,  warm  light  gray  glaze.  Broad 
bands  of  conventional  waves,  cross-lines,  and  imbricated  scrolls  in  dark  brown.  1630 

4339-  Flower-vase.  H.  12  in.  Swelling  body,  long  cylindrical  neck,  elephant  ears. 
Light  brown  clay,  light  fawn  glaze.  Two  broad  zones  of  diaper  on  neck  and  on  body,  and 
closely  encircling  lines  from  top  to  bottom  in  brown.     Slightly  iridescent.     Inside  basal  ring, 

1700 


transparent  glaze. 

4340.    Flower-vase,     H.  7  in.    Typical  Sunkoroku  decoration. 

4341*.     BoTTLK     H.  13  in.     Diapers  in  dark  brown.     Tama  cut  through  glaze. 

4342.  Jar.  H.  65  in.  Pottery  cover  and  twisted 
handle.  Japanese  yellow  clay,  transparent  glaze. 
Broad  zones  of  rocks,  waves,  cranes,  dragons,  etc.,  in 
olive-green.  1800 

Unique  form  of  decoration. 

4343-  Flower-vase.  H.  12^  in.  Lion-head  knobs. 
Light  gray  clay  and  glaze.  Broad  zones  of  diapers, 
scrolls,  bands,  etc.,  in  grayish-brown.  On  shoulder, 
bands  in  dull  blue.  1800 

4344*.  Square  stand,  sides  perforated.  H.  6|  in. 
W.  62  in.  Imbricated  scrolls  on  sides,  diaper  on  upper 
surface.  Kokwa  ni  nen  Giosotan  Kiyohoku  and  kakihan 
(written ;  reduced  one  half).  1845 

This  object  is  interesting  in  having  inscribed  upon 
it  the  year  period  and  name  of  potter. 

Gift  of  W.  S.  Bigelow. 

Clove -boiler.     H.  gf  in.     Grayish -fawn  clay  and  glaze 


1780 
1780 


Light  yellowish  clay  and  glaze.     Clouds,  scrolls, 
1830 


4345- 

brown. 

4346-     Tea-pot,  loops  for  bail.     D.  5  in. 
etc.,  in  greenish-brown.     Mark  unread. 

4347*'  4348*'     Sauce-bottle  and  jar. 

4349-     Tea-pot,  loops  for  bail.     D.  4I  in.     Light  yellowish  clay  and 
glaze.     Clouds  and  cranes  in  greenish-brown.     Mark  unread.       1830 
This  mark  is  found  on  No.  4463,  and  the  piece  must  have  been 
made  by  the  same  potter. 

435''*'  435^*'    Sweet  sake-holder  and  vase. 


4344 

Various  diapers  in 
1826 


HOJU    (Case  37  and  Plate  XXVI.  4352) 

A  variety  of  distinct  types  of  Satsuma  pottery  bearing  the  impressed  marks  Hdju, 
Hohei,  Hoyei,  Hoyu,  and  Hoko  represent  generations  or  collateral  branches  of  a  family 
whose  ancestor  was  one  of  the  original  Korean  potters  brought  to  Satsuma  by 
Shimadzu.  The  character  Ho  is  usually  read  by  the  Japanese  Yoshi.  Mr.  Matsuki 
learned  that  Yoshi  should  be  read  Bohi.     These  potters  were  descendants  of  one  of 


PROVINCE   OF  SATSUMA  323 

the  early  potters  named  Bochu.  Boku  made  pottery  in  Satsuma  in  1781,  his  Japanese 
name  being  Kawabara  Chuzayemon.  Sogi  Gensuke  of  Aira  Gori,  Osumi,  exhibited 
at  the  National  Exposition  in  Tokyo,  1885,  an  inkstone  made  by  Boku  in  1783.  This 
Boku  was  an  ancestor  of  the  exhibitor.  Mr.  Michitaro  Hisa,  who  is  a  critical  reader 
of  difficult  marks,  insists  that  the  character  Yoshi=Hd  can  in  no  way  be  read  Boku. 
For  the  present  the  mark  will  be  read  Ho,  and  in  bringing  the  various  forms  together 
they  group  themselves  in  various  ages  up  to  the  present  time.  The  pottery  bearing 
the  mark  Hojii  is  by  far  the  most  perfect  as  well  as  the  most  diversified.  It  includes 
the  earliest  forms  of  the  various  pieces  bearing  Ho  as  the  first  character.  A  few 
pieces  without  signature  are  placed  here  provisionally. 

4352-  Tea-bowl,  sides  indented.  D.  4  in.  Thick  and  heavy.  Brown  clay,  brown  under- 
glaze  strongly  mottled  with  darker  brown.  Thick  splash  of  grayish-brown  glaze,  over  which 
are  irregular  splashes  of  thick  white  glaze,  upon  which  are  waves  in  blue  and  flying  cranes 
in  dark  brown.     Inside,  grayish-white  glaze  coarsely  crackled.  1780 

The  box  containing  this  specimen  was  marked  "  jar-shaped  bowl."     It  is  a  unique  and 
beautiful  object. 

4353"  Gourd-shaped  bottle.  H.  s|  in.  Fine  drab  clay,  grayish-drab  glaze.  Grapevine 
roughly  incised  in  white  Mishima.  1780 

4354.  Gourd-shaped  bottle.  H.  4I  in.  Light  brown  clay.  Simple  flowers  and  twigs 
roughly  incised  in  white  Mishima.  1780 

These  two  forms  are  exceedingly  rare  from  the  fact  that  the  decoration  is  incised  and  not 
impressed. 

4355-  Incense-burner.  D.  5  in.  Reddish-brown  clay,  greenish-gray  glaze.  Bands  of 
flowers,  circles,  etc.,  impressed,  white  Mishima.     Three  legs.     Hdju  (imp.).  ^.^ 

4356.  Wine-bottle,  gourd-shaped.  H.  6J  in.  Gray-drab  clay,  grayish-  \«  lai 
drab  glaze.  Bamboo  in  thick  white  slip.  Rare  form  of  decoration.  ^3r 
^■«(imp.).                                                                                                    1780      43SS        4356 

4357.  Plate.  D.  6i  in.  Reddish-brown  clay,  dark  gray  glaze.  Inside,  three  cranes 
flying  and  standing,  in  white  slip.     Bills  and  legs  in  blue.  1780 

Gift  of  Denman  W.  Ross. 

4358.  Wine-bottle,  gourd-shaped.  H.  7  in.  Brown  clay,  rich  reddish-brown  glaze,  finely 
mottled  with  darker  brown,  areas  of  dark  brown  glaze  mottled  with  blue.     Iridescent.      1780 

4359-  FiRE-VESSEL.  H.  3i  in.  Clay  and  glaze  similar  to  last. 
Hdju  (imp.).  1800 

4360.  Squat  jar.  H.  4I  in.  Light  reddish  clay,  dull  underglaze, 
thick  yellowish-white  overglaze,  through  which  decoration  of  bamboo  is 
incised  exposing  dark  clay  beneath.     Hdju  (imp.).  1800 

Unique  form  of  decoration. 

4361*.     Wine-bottle,  gourd-shaped.     H.  7^  in.    Hdju  (imp.).     1800 


324  THE   CATALOGUE 

HOHEI    (Case  37  and  Plate  XXVI.  4364) 

Pieces  bearing  this  mark  stand  next  in  character  as  well  as  in  age.  They  probably 
date  from  18 10  to  1820. 

4362.  Wine-bottle,  gourd-shaped.  H.  6|  in.  Reddish-brown  clay,  greenish-gray  glaze. 
Bands  of  circles,  flowers,  lines,  etc.,  white  Mishima.     Hohei  (imp.).  1820 

43^3-     Jar.     H.  4J  in.     Reddish-brown  clay  and  glaze  finely  mottled. 
Hohei  (imp.).  1820 

4364.     WiNE-BOTTLE,  gourd-shaped.      H.  5  in.     Gray-drab  clay,  light 

brown  glaze,  lustrous  areas  of  dark  brown  glaze  mottled  with  blue.  4362  4363 

Hohei  (imp.).  1820 

4365'  Wine-bottle,  gourd-shaped.  H.  8|  in.  Gray-drab  clay,  reddish-brown  glaze  finely 
mottled,  irregular  splashes  of  lustrous  dark  brown  overglaze  mottled  with  light  blue  and 
fawn.     Hohei  (imp.).  1820 

43SS'    Wine-bottle,  gourd-shaped.     H.  7I  in.    Similar  to  last.     /^/4«  (imp.).  1820 

HOYEI    (Case  37  and  Plate  XXVII.  4368) 

It  is  said  that  Hoyei  studied  the  potter's  art  in  Chikugo,  Chikuzen,  Kyoto,  and 
Owari.  In  Owari  he  learned  to  make  Ofuke  pottery,  and  two  pieces  variously  identi- 
fied as  Satsuma  and  Ofuke  may  have  been  made  by  HoyeL 

4367*    Jar.     H.  %\  in.     Gray-drab  clay,  coarsely  granulated  gray-drab  glaze.    Hoyei  (imp.). 

1820 
4368.    Wine-bottle,  gourd-shaped.     H.  7I  in.     Light  reddish-drab 
clay,  gray  glaze.    Bands  of  flowers,  circles,  lines,  dots,  etc.,  white  Mi- 
shima.    Hoyei  (imp.).  1820 

43^9-     Bottle,  gourd-shaped.    H.  5^  in.    Looped  handle,  long  slender 

nozzle.      Fine  reddish-brown  clay,  greenish-gray  glaze.     Cross-lines, 

bands,  flowers,  etc.,  impressed  and  incised.     Hoyei  (imp.).  1830  4367  4368 

437^"     JaR-     H.  4^  in.     Similar  to  last.     Hoyei  (imp.).  1830 

437^*     Single  flower-holder,  gourd-shaped.      H.  34  in.      Circular  perforation  on  side. 

Fine  reddish  clay,  fine  reddish-brown  glaze.    Upper  portion  dark  lustrous  olive-brown 

glaze,  flecked  with  blue.     Hoyei  (imp.).  1830       Tr* 

4372-  Box,  in  form  of  drum  resting  on  end.    D.  3^  in.    Dark  drab  clay,  body  dark       ^|J 
drab  glaze,  upper  and  lower  portion  yellowish-fawn  glaze.     Wood-graining  on  side  in       ^*» 
yellowish-fawn.     Moulded  cock  on  cover,  brown  glaze.     Hoyei  (imp.).  1840       '♦S?' 

4373-  Water-holder,  in  form  of  tea-pot.  D.  i|  in.  Dark  gray-drab  clay,  reddish-brown 
glaze  mottled,  splash  of  lustrous  olive-brown  glaze  mottled  with  blue.  1840 

4374-  JaR-  H.  4I  in.  Similar  to  last.  Hoyei  (imp.).  1840 
437^'  Large  bowl.  D.  7I  in.  Brown  clay,  grayish-blue  glaze  clouded  with  brown.  Panels 
of  flowers  and  lattice-work  alternating  in  dark  brown.  1840 
4377'  Water-jar.  H.  6J  in.  Lion-head  knobs.  Brown  clay,  thick  light  blue  glaze. 
Panels  of  flowers,  latticework,  band  of  fret,  etc.,  in  brown.                                                  1840 


PROVINCE   OF  SATSUMA 


3!»S 


4378-     Flower-vase,  looped  handles.     H.  9  in.     Brown  clay,  brown  underglaze  mottled 
with  olive-green  ;  thick  blackish-olive  overglaze  strongly  mottled  with  light  fawn  running. 

1840 
HOyO   (Case  37) 

Pottery  marked  Hoyu  was  made  in  Tatsumonji  within  fifty  years.     It  is  inferior  in 
every  way  to  the  work  of  Hoyei. 


4379'     Bottle,  globular.      H.  6  in.      Brown  clay,  reddish-brown  glaze  mottled,  splash  of 

lustrous  olive-brown  overglaze,  mottled  with  blue  and  white. 

Hoyu  (imp.).     (A  double  impression,  one  being  upside-down.)       1840 

43S0.  Wine-holder.  H.  65  in.  Bail  and  nozzle.  Gray-drab  clay, 
lustrous,  deep,  reddish-brown  glaze,  with  streaks  of  golden-brown  and 
light  blue.     Tatsumonji  Hoyu  (imp.).  1840  4379  4380 


fl 


HOKO  (Case  37) 

This  mark,  usually  read  Yoshimitsu,  is  found  on  widely  differing  types  of  Satsuma. 

4381*.     Shallow  bowl.      D.  5  in.      Reddish-brown  clay  and  glaze,  lustrous  dark  brown 


Hoko  (imp.). 
i860 


4381 


4383 


glaze  strongly  flecked  with  light  blue  and  fawn. 

4382*.    Wine-bottle,  similar  in  clay  and  glaze  to  last. 
Hoko  (imp.).  i860 

43^3-     Tea-bowl.     D.  3!^  in.     Drab  clay,  white  glaze  with 
light  bluish  shading,  brilliant  crackle.      Waves  in  purple  and 
light  blue.     Strong  finger  impressions  on  surface. 
Hoko  set  in  (imp.).  i860 

43^4'     Box.     D.  6J  in.     Moulded  in  form  of  trunk  of  tree,  pine  cones  for  handle  and  sup- 
ports.     Light  clay,  surface  stained  a  dead  brown.     On  bottom,  thick  white  glaze  coarsely 
crackled  and  separating.     Inside,  thick  bright  mustard-yellow  glaze  finely  crackled. 
Hoko  sei  in  (imp.).  i860 

SETO-KUSURI   (Seto  glaze)  (Case  37) 

This  name  is  applied  to  those  forms  having  a  rich  reddish-brown  glaze  with  running 
blue  splashes.  The  glaze  has  no  resemblance  to  Seto  glaze,  yet  the  pottery  is  known 
to  the  Japanese  by  this  name.  The  pottery,  usually  in  the 
shape  of  double  gourd-shaped  wine-bottles,  is  distinctly  typical. 
The  rich,  deep  splashes  of  liquid-blue  on  the  fine  reddish 
ground  are  very  beautiful.  Pieces  of  this  nature,  when  not 
otherwise  determined,  will  be  here  included. 

4385**     Tea-bowl.     D.  4^  in.     Reddish-brown  clay  and  glaze, 
areas  of  lustrous  glaze  flecked  with  blue.   RyUho  impressed  on  side. 

Recent 


4386*,  4387*.    Tea-pot  and  jar. 


1830 


# 


1^ 


438s 


3*6  THE  CATALOGUE 

43oo-     Jar.     H.  21 J  in.     Thick  and  massive.     Light  brown  clay,  reddish-brown  glaze,  rich 
light  blue  overglaze,  flecked  and  running.  Recent 

Gift  of  W.  S.  Bigelow. 

On  top  of  Case  39. 

43o9'     Bottle,  in  form   of  egg-plant.      H.  6}  in.     Brownish  clay,   purplish-brown  glaze 
clouded.     Calyx  outlined  in  white  glaze.  1850 

4390-     Jar,  depressed.     H.  2f  in.     Fine  reddish-brown  clay,  deepest  brown  glaze,  almost 
black  and  very  lustrous.  i860 

These  two  pieces  are  very  puzzling,  and  are  placed  here  on  the  authority  of  Japanese 
experts. 

439^'    Globular  jar.     H.  25  in.     Fine  reddish-brown  clay,  deepest  brown  glaze,  almost 
black,  lustrous.  i860 

MISHIMA   (Case  37  and  Plate  XXVII.  4395,  4399,  4404) 

Under  this  name  are  included  forms,  not  otherwise  assigned,  in  which  the  design 
is  impressed,  rarely  incised,  and  filled  with  a  white  clay,  sometimes  on  a  gray  glaze, 
rarely  in  black  on  a  white  glaze.  The  designs  are  usually  in  the  form  of  stars,  circles, 
semi-circles,  conventional  flowers,  and  bands.  This  form  of  decoration  is  entirely 
Korean  in  origin,  and  in  those  provinces  where  Korean  potters  settled  this  style  is 
found.     From  these  provinces  it  has  spread  throughout  the  empire. 

4392.     WiNE-BOTTLK    H.  7^  in.    Fine  fawn  clay,  light  dull  grayish  glaze.    Zones  of  vertical 
and  horizontal  lines  combed.  1600 

4393-  Bottle,  with  nozzle.      H.  4^  in.      Brown  clay,  dark  gray  glaze.     Cross-lines,  half 
circles,  and  stars.     Iridescent.  1680 

4394-  Flower-vase.     H.  i  i^  in.     Gray-fawn  clay,  light  gray  glaze.    Bands  of  stars,  circles, 
vertical  lines,  etc.,  finely  impressed.  1730 

4395-  Box,  hexagonal.      D.  2\  in.      Fine  gray-drab  clay  and  glaze.      Mikado's  crest  and 
radiating  figures  in  white  and  black  Mishima.  1750 

4396.     Tea-bowl.     D.  4^  in.    Thick  and  solid.    Hard  light  brown  clay,  gray  glaze.    Bands 
of  stars,  flowers,  and  vertical  lines.  175° 

4397-  Covered  JAR,  with  knobbed  handle.    H.  15I  in.    Light  gray-drab  clay,  \ 
transparent  glaze.     Bands  of  diaper,  flowers,  lines,  etc.                                  1780  \_ 

4398-  Cake-plate,  flaring  and  scalloped  rim.    D.  7  in.    Similar  to  last.    1780 

4399-  Shallow  tea-bowl.      D.  5  J  in.     Gray-drab  clay,  gray  glaze  mottled. 
Bands  of  stars  and  lines.  1780 

Type  Ninagawa.     Part  VII.,  Fig.  28. 

4400-  Tea-bowl.     D.  4I  in.     Stars,  vertical  lines,  etc.  1800 

4401.    Bottle.     H.  8^  in.     Gray-drab  clay,  lustrous  transparent  glaze,  with 

fawn  areas.     Vertical  lines,  bands  of  stars,  etc.    Jota  kore  wo  seisu  (inc.).    1800 

^      '  4401 

44^^-     Shallow  tea-bowl.     D.  5I  in.     Mishima,  white  on  gray.  1830 


t 


CASE  37 


til',3  'iJJS  'i3'i2 


"fSVO     iiSiS        •«33T  '.8'rS-  Hilb  '1317 


omo  (^rammnnmmm 


S313  VJOt  '»3/'f  -.300  1,313 


•iZlfr 


hhlil  '^^TT 


'ii'i'i 


S3b0 


-tJ?? 


■.370 


'i3<i( 


<i3VV 


PROVINCE  OF  SATSUMA 


PROVINCE   OF  SATSUMA 


327 


44^3'    Clove-boiler.     H.  7I  in.     Mishima,  white  on  gray.  1830 

4404.  Tea-bowl.  D.  5J  in.  Thick  and  heavy.  Light  fawn  clay ;  firm,  nearly  white  glaze. 
Stars,  vertical  lines,  etc.,  in  black.  ly^o 

Rare  form. 

44°5'  Bottle,  gourd-shaped.  H.  loj  in.  Thick  and  heavy.  Fawn  clay,  nearly  white 
glaze.     Bands  of  stars,  flowers,  scrolls,  vertical  lines,  etc.,  black  Mishima.  1750 

4406.  Wine-bottle,  gourd-shaped.  H.  6\  in.  Thick  and  heavy.  Light  gray  fawn  clay, 
white  glaze.     Cross-lines,  stars,  etc.,  in  black.  1780 

4407'  Jar.  H.  loj  in.  Light  fawn  clay,  thick  white  glaze  minutely  crackled.  Encir- 
cling lines  with  stars,  flowers,  herring-bone,  etc.,  vertical  lines  in  threes  incised  and  impressed 
in  brownish-gray  Mishima.  1800 

On  top  of  Case  38. 

44°S-  Clove-boiler.  H.  ioJ  in.  Yellowish-white  clay,  grayish-white  glaze.  Bands  of 
stars,  cross-lines,  vertical  lines,  etc.,  in  black.  1800 

4410.  Deep  bowl.  H.  3^  in.  Light  fawn  clay,  nearly  white  glaze.  Band  of  basket-work 
near  rim,  and  vertical  interrupted  lines  on  side  in  light  blue  Mishima.  1840 

SAME   (Case  37  and  Plate  XXVII.  4412) 

A  form  of  pottery  known  as  Sam6,  or  Shark-skin,  is  at  once  recognized  by  its  gray 
clay  and  minutely  granulated  glaze  resembling  shark-skin.  Similar  effects  of  glaze 
have  been  produced  elsewhere  in  Japan,  notably  in  Shino,  Owari,  where  the  glaze  is 
curdled  in  large  drops  close  together ;  in  Iwaki,  where  the  drops  are  large,  isolated, 
and  running ;  in  Hizen,  where  the  glaze  is  thick  and  deeply  crackled ;  and  in  Tamba, 
where  a  resemblance  is  seen  to  Satsuma. 

44^^-  Bowl,  sides  indented.  D.  4f  in.  Hard  gray-drab  clay,  coarsely  granulated  fawn 
glaze ;  rich  brown  glaze  inside.  1800 

44^2'     Bottle,  gourd-shaped.     H.  3!  in.     Gray-drab  clay,  coarsely  granu- 
lated gray-drab  glaze.     Inside  neck,  brown  glaze.  1830 

4414.    Flower-vase.     H.  8^  in.  Recent 

4415'    Tea-cup.     D.  2%  in.  Recent 

4416*.     Flower-vase,  signed,  Satsuma  no  Kuni  Keiden  set  (imp.).  1888 

SEIKOZAN    (Case  37) 

A  long  slender  bottle-shaped  vase,  with  shark-skin  glaze,  bears  the  impressed 
mark  Seikozan.  It  may  have  been  made  by  a  descendant  or  an  apprentice  of  Gioku 
Kozan. 

44^7-     Vase,  bottle-shaped.     H.  8|  in.     Gray-drab  clay,  olive-drab  glaze,  granu- 
lated with  running  splashes  of  olive-brown  overglaze.     Beautifully  modeled. 
Seikozan  (imp.).  1830 

4418.     Jar.     H.  6|  in.     Similar  to  last.  1830        '''♦'^ 


328 


THE  CATALOGUE 


YAMAGAWA   (Case  38) 

Under  this  name  is  included  a  hard  brownish-colored  pottery  with  dull 
surface,  of  which  the  collection  contains  a  number  of  examples.  One  of  these 
bears  the  signature  Yamagawa,  the  name  of  the  village  where  it  was  made. 

4419-     Form  of  split   bell.     L.   3I   in.      Gray-drab   clay,  dull  purplish-brown 
glaze.     Yamagawa  (imp.).  1650 

The  following  are  also  included  under  Yamagawa  from  resemblance  in 
glaze. 


4419 
clay  and 


4420,  4421.     Tea-jars. 

4422-4425.    Cup-rest,  wine-bottle,  bottle,  and  tea-jar. 


1680 
1680,  1780,  1800,  and  i860 


IZUMI    (Case  38) 

In  the  northern  part  of  Satsuma,  in  the  village  of  Izumi,  is  produced  a  large  quan- 
tity of  cheap  pottery  in  the  form  of  bowls  and  dumpy  tea-pots,  which  find  their  way 
to  the  Nagasaki  markets.  These  objects  have  enabled  me  to  identify  the  older  forms, 
which  are  not  without  merit. 

44^^-     Tea- JAR,  gourd-shaped,  looped  handles.     H.  ij  in.     Dull  brown  clay,  thick  dark 
brown  glaze  mottled  with  golden-brown.  1650 

4427*     Tea-jar,    irregular  in  shape.      H.  4  in.      Light  brick-red  clay,  ochre  glaze,  with 
brown  overglaze  running.     Impression  of  circle  and  line  on  bottom. 

1700 

4428.  Wine-bottle,  globular  body.  H.  %\  in.  Long  neck  with 
bulbous  expansion.  Fawn  clay,  rich  buff  underglaze,  irregular  splash 
of  richly  mottled  brown  overglaze  on  body ;  deep  seal-brown  glaze 
mottled  with  olive-green  on  neck.  1780 

4429.  Wine-bottle.  Same  form  as  last.  H.  7I  in.  Gray-drab 
clay,  nearly  black  lustrous  glaze.  1780 

4430-  Covered  vessel,  with  handle  and  nozzle.  H.  6  in.  Ochre 
clay  and  glaze,  splash  of  greenish-fawn  overglaze.  1830 

443^-  Hanging  flower-holder.     H.  6J  in.  1830 

4432.  Jar,  for  birdseed.     D.  2-1'^  in.     Greenish-ochre  clay  and  glaze. 

4433-  Shallow  bowl.     D.  sf  in.     Ochre  clay  and  glaze. 

4434"  Tea-pot.     D.  4 J  in.     Coarse  reddish  clay  and  glaze. 

BETSUKAFU   (Case  37  and  Plate  XXVII.  4437) 

Records  state  that  in  the  early  part  of  the  century  there  was  made  at  Tsuboya  a 
peculiar  pottery  with  white  clay,  yellow  glaze,  and  large  irregular  splashes  of  brown, 
rarely  green.  Its  fancied  resemblance  to  tortoise-shell  (Betsukafu,  or  Bekko  as  it  is 
pronounced)  gave  it  the  name.     It  has  no  special  merit.     Sir  Ernest  Satow,  in  his 


PROVINCE   OF  SATSUMA  329 

paper  on  the  Korean  Potters  in  Satsuma,  to  which  allusion  has  already  been  made, 
learned  that  up  to  1864  (at  which  date  its  production  ceased)  it  was  shipped  in  large 
quantities  to  Nagasaki.  Being  without  merit  it  gradually  disappeared,  and  specimens 
of  it  are  rare.     A  harder  form  of  this  pottery  was  made  in  the  last  century. 

4435-  Bowl,  octagonal.  D.  4f  in.  Hard,  nearly  white  clay,  deep  yellow  glaze  with  large 
irregular  splashes  of  dark  brown  glaze  finely  crackled.     Inside  basal  ring  thick  white  glaze. 

1700 
443^'  Bowl.  D.  3I  in.  Yellowish-white  clay,  light  golden-brown  glaze  with  irregular 
splashes  of  dark  brown  and  light  green  glaze.  Inside  basal  ring  thick  white  glaze  coarsely 
crackled.  1820 

4437-  Bowl.  D.  3I  in.  Nearly  white  clay,  bright  yellow  glaze  with  irregular  splashes  of 
seal-brown  and  light  bluish  glaze.     Inside  basal  ring  white  glaze.  1840 

Satsuma  and  Kawauchi  (written). 

443^-     Tea-pot,  rectangular,  corners  fluted.     L.  4J  in.     Soft  fawn 
clay,  deep  seal-brown  glaze  with  splashes  of  greenish-yellow. 
Gengo  (imp.).  1840 

4439-     Tea-cup.     D.  i  \^  in.     Yellowish-white  clay  and  glaze,  ver- 
tical splashes  of  golden-brown  overglaze  inside  and  out.  1840 

WHITE   SATSUMA   (Case  38  and  Plate  XXVII.  4442,  4452,  4453,  4457,  4489) 

Under  this  name,  for  want  of  a  better  term,  may  be  considered  all  forms  of  white 
Satsuma  faience,  whether  decorated  or  not.  The  undecorated  forms  vary  much  in 
their  quality,  the  older  pieces  being  always  more  evenly  and  finely  crackled.  The 
earliest  forms  are  referred  to  Chosa,  Osumi,  and  these  have  an  almost  crystalline 
appearance,  so  peculiarly  fine  and  brilliant  does  the  crackle  appear. 

The  brocade-decorated  pieces  of  Nishiki-de  of  the  earliest  period  are  also  finely  and 
evenly  crackled.  The  date  for  these  is  usually  placed  at  1790  or  thereabouts.  The 
work  Toki  Shoshi  records  Kono  Senyemon  as  making  Nishiki-de  in  1764-71.  Besides 
these  floral  decorated  ones  in  vitrifiable  enamels  there  are  many  other  varieties,  some 
decorated  in  blue,  others  with  sketchy  landscapes  in  bluish-black,  and  others  still  with 
scrolls  or  diapers  in  brown,  suggesting  Shino.  Variations  in  clays  and  glazes  appear, 
the  purple-glazed  forms  being  the  rarest.     Marks  are  extremely  rare. 

WHITE   SATSUMA  (undecorated) 

4440.  Bowl.  D.  3I  in.  Whitish  clay  and  glaze,  dull  crackle.  Obscure  mark  in  square 
panel,  impressed.  i7S° 

4442.  Incense-burner,  with  silver  cover.  H.  5^  in.  Moulded  in  form  of  lotus  flower. 
Petals  on  side  in  high  relief.  Light  stained  ivory-colored  glaze  with  finest  of  brilliant  crackle. 
Two  irregular  areas  of  lacquer  with  gold,  filling  imperfections  of  glaze. 

An  exquisite  piece  of  early  Satsuma. 
Gift  of  Denman  W.  Ross. 

4443.  Bottle.     H.  2}  in.     Yellowish-white  clay  and  glaze  strongly  crackled.  1800 


I 


330  THE   CATALOGUE 

4444-  Tea-pot.     D.  2i  in.     Loops  for  bail.     Nearly  white  clay  and  glaze.  1840 

4445-  Shallow  bowl.  D.  6J  in.  Subsequent  decoration  of  fishes  and  water  plants  in 
green,  black,  red,  and  gold.  1840 

4446.    Wine-bottle,  with  pottery  stopper.     H.  6}  in.  1840 

4447-     Bowl.     D.  4  in.     Yellowish-white  clay  and  glaze.  1850 

4448.  Tea-pot.  D.  3I  in.  Loops  for  bail.  Yellowish-white  clay  and  glaze,  strongly 
crackled.  1855 

4449.  Cake-dish,  fan-shaped.     L.  8J  in.    Whitish  clay  and  glaze  with  grayish  clouding. 
Gift  of  A.  D.  Weld  French.  i860 

445^*  Set  of  three  shallow  wine-cups.  Largest,  d.  3^  in.  Yellowish-white  clay  and 
glaze,  coarsely  crackled.     Rims  gilded.  1870 

445^'  Flower-vase.  H.  4^  in.  Interesting  only  as  illustrating  the  deterioration  which 
has  taken  place  in  the  tempering  and  manipulation  of  Satsuma  clays.  1878 

WHITE   SATSUMA.     NISHIKI-DE  (brocade-painted) 

The  pottery  most  prized  by  the  foreign  collector  is  "Old  Satsuma."  This  name, 
however,  is  restricted  to  white  crackled  faVence  decorated  in  colored  enamels  and  gold. 
Genuine  pieces  made  by  the  Japanese  in  accordance  with  the  taste  of  the  Japanese, 
and  for  use  by  the  Japanese,  are  objects  of  extreme  rarity.  The  pottery  known  as 
Satsuma  abroad  has  been  made  within  the  last  twenty-five  years  solely  for  export. 
Many  of  the  early  pieces  of  this  export  pottery  were,  indeed,  marvels  of  the  decorator's 
art,  but  for  all  that  do  not  in  any  way  represent  true  Satsuma.  I  have  dealt  elsewhere 
with  this  question,  and  would  refer  readers  of  this  catalogue  to  my  article,  entitled  "  Old 
Satsuma,"  in  Harper  s  Magazine,  September,  1888. 

445^-  Incense-burner,  square,  corners  beveled.  H.  zf  in.  Moulded  fret-work,  four 
small  supports.  Chalky,  yellowish-white  clay,  thin  yellowish-white  glaze,  microscopic  crackle. 
Over-decoration  of  flowers  in  green,  white,  purple,  and  red.  Red  fret  about  rim.  1764-71 
Ninagawa  figures  in  an  unpublished  plate  the  mate  to  this,  which  has  a  perforated  cover, 
but  the  legs  are  broken  away.  This  was  believed  by  experts  in  Japan  to  be  the  earliest 
decorated  Satsuma.  The  glaze  and  clay  are  so  unlike  the  early  decorated  Satsuma  that  I 
am  inclined  to  place  it  as  the  work  of  Kono  Senyemon.  The  work  Toki  Shoshi  records  that 
a  potter  of  the  above  name  made  brocade-painted  pottery  in  1764-71. 

4453*  Shallow  bowl.  D.  5I  in.  Nearly  white  clay  and  glaze  finely  crackled.  Mass  of 
flowers  in  blue  and  green  enamels  with  red  and  gold,  outlined  in  black,  delicately  drawn. 

1800 
4454-  Hand-warmer,  form  of  tossing  ball.  L.  6f  in.  Light  gray-drab  clay,  cream-white 
glaze.     Flowers  and  leaves  in  light  red  and  yellow,  outlined  in  black.  1800 

4455'  Brush-holder,  square,  beveled  corners,  edges  and  rim  in  relief.  H.  sJ  in.  Thick 
and  heavy.  Nearly  white  clay,  fine  white  glaze  coarsely  crackled.  Corners,  base,  and  rim 
with  diaper  in  red  and  green.  Panels  with  flowers,  birds,  stand,  etc.,  in  green  and  blue 
enamels,  and  red,  brown,  and  gold,  outlined  in  black.  1800 


t 


PROVINCE    OF  SATSUMA  331 

445^-  Deep  bowl,  vertical  sides.  D.  3I  in.  Nearly  white  clay,  compact  white  glaze. 
Chrysanthemums  and  leaves  in  blue,  green,  and  pink  enamels,  and  red  and  gold  outlined  in 
black.     Inside  rim,  ornamental  band  in  green  enamel  and  red.     Small  basal  ring.  1810 

4457*  Bowl,  hexagonal,  flaring.  D.  5  in.  Very  light  fawn  clay,  rich  light  fawn  glaze. 
Ornamental  border,  above  and  below,  in  green  enamel  outlined  in  black  with  red  and  gold. 
Masses  of  pinks  in  green  and  blue  enamel  outlined  in  black  with  red  and  gold.  1815 

Type  Ninagawa.     Part  VII.,  Fig.  29. 

445^-     Spoon-shaped  dish,  in  form  of  mythological  bird.     L.  2J  in.    Nearly  white  clay  and 
glaze.     Feathers  shaded  in  rich  blue  enamels  with  red  and  gold.    Arrow-shaped  mark 
painted  on  bottom.  1820 

4459-     Bowl.     D.  4f  in.     Nearly  white  clay  and  glaze.     Gilt  rim,  radiating  scrolls 

in  red,  green,  black,  and  gold.  1820  „ 

445° 

4460.  Bottle.     H.  8^  in.     Floral  decoration,  etc.  1820 

4461.  Vase.  H.  8  in.  Nearly  white  clay,  yellowish-white  glaze  finely  crackled.  Over 
decoration  of  mountain  scenery,  trees,  etc.,  in  black  and  gray.  1830 

4462-     Tea-cup.     D.  2%  in.      Nearly  white  clay,  cream-white  glaze.     Cherry  blossoms  in 
white  slip  touched  with  pink  and  gold ;  light  red  leaves.     Gioku  Ho  set  (written). 
The  work  of  Gioku  Hozan.  1840 

44^3-  Screen-holder.  L.  4J  in.  Light  gray-drab  clay,  grayish-white  glaze  coarsely 
crackled.  The  seven  jewels  in  dark  blue,  light  green,  and  red  enamels.  Obscure 
mark  in  square  panel,  impressed.     (See  No.  4349.)  1850     4462 

4464-  Candlestick.  H.  13 |  in.  Yellowish-white  clay  and  glaze.  Oblique  sinuous  bands 
of  lattice-work,  diaper,  conventional  flowers,  etc.,  in  light  pink,  blue,  and  green  enamels  out- 
lined in  black  and  gold.  1850 

4465.     Bowl.     D.  4  in.     Rich  decoration  of  flowers  in  colored  enamels.  1850 

44^^-  Incense-box.  D.  2^  in.  White  clay  and  glaze.  Ornamental  band  around  shoulder 
of  dark  blue  enamel  outlined  in  gold.  1850 

44^7-  Bowl.  D.  4  in.  Yellowish-white  clay  and  glaze.  Bamboo,  pine,  and  plum  outlined 
in  gold.  1850 

44^°-  Tea-pot.  D.  4^^  in.  Nearly  white  clay  and  glaze.  Spray  of  plum  in  blue  and  green 
enamels  outlined  in  black  and  touched  with  red.  Ornamental  band  in  green  enamel  outlined 
in  black  with  red  flowers  on  shoulder  and  on  cover.  1850 

4469.  Globular  jar.  H.  2\  in.  Yellowish-white  clay  and  glaze.  Pinks  in  green,  red, 
gold,  and  black.  1850 

447''-  Rectangular  TRAY.  L.  s|  in.  Nearly  white  clay  and  glaze.  Inside  and  outside, 
formal  scrolls  and  flowers  in  green  enamel  with  red  and  gold.  On  rim,  ornamental  border  in 
blue  enamel  with  red  and  gold.  1850 

447^~4477-     Tea-pots,  cup,  bowl,  etc.     White  Satsuma  decorated  in  colors.       1860-1878 

4478.     Incense-burner.     H.  ^\  in.     Scroll  handles.    Three  legs.     Fine  light  Satsuma  clay 

and  glaze  minutely  crackled.    Satsuma  Tateno  Bunsei  san  nen  ni  gatsu  futsuka  (written  in  blue). 

Gift  of  W.  S.  Bigelow.  1820 


33a  THE   CATALOGUE 

WHITE   SATSUMA  (blue  decoration) 

4479>  Tea-pot.  D.  3J  in.  Thin  walls.  Yellowish-white  clay,  white  glaze  closely  covered 
with  minute  pectinated  scrolls  in  dark  blue.  1800 

A  rojnarkable  example  of  decoration. 

4480.  Flower-vase,  oviform.  H.  loj  in.  Thick  and  heavy.  Light  Satsuma  clay  and 
glaze.     Outside,  covered  with  deepest  brown  overglaze  running  in  broad  streams  below. 

Gift  of  W.  S.  Bigelow.  1850 

4481-  Box,  form  of  ceremonial  hat  worn  by  highest  officials.  W.  across  wings,  izf  in. 
Grayish-white  clay  and  glaze  finely  crackled.  Over-decoration  of  dragons  in  panels  in  light 
blue.     Wings  shaded  with  cross-lines  in  light  blue.  1800 

4483.  Plate.  D.  8|  in.  Yellowish-white  clay  and  glaze.  Inside,  curious  scroll  decora- 
tion in  black.  1830 

4485.  Wine-cup.      D.  2^^  in.     Very  light  fawn  clay,  nearly  white  glaze  coarsely     ^^i/ 
crackled.     Curious  leaf -decoration  outlined  in  blue.  1830       4485 

Undecipherable  mark  in  blue. 

It  is  said  that  this  mark  was  used  as  a  common  signature  by  all  the  potters  employed  by 
Lord  Shimadzu. 

4486.  Bowl.  D.  4  in.  Walls  thin  and  delicate.  Finest  light  clay,  elaborate 
underglaze  decoration.  Outside,  formal  waves  in  light  blue,  bordered  with  black, 
fishes  in  brown,  blue,  and  red.  At  base,  broad  band  of  red  with  scrolls  and 
conventional  flowers.  On  base,  circles  of  red  and  blue  alternating.  Inside,  three 
panels  of  landscapes  on  ground  of  waves.  Just  below  border,  inside,  ornamental 
band  of  red  with  cherry  blossoms  and  diaper  in  fine  brown  lines.  In  bottom,  4486 
three-petaled  design  in  red  and  blue.     Hayashi  and  leaf  in  blue.  1840 

This  piece  has  also  been  assigned  —  and  with  good  reason  —  to  Kyoto.    An  exceedingly 
unique  form. 


Gift  of  W.  S.  Bigelow. 

44^7*     Shallow  bowl,  wavy  rim.     D.  5  in.     Nearly  white  clay,  glaze 
coarsely  crackled.     Landscape  strongly  drawn  in  blue.  1830 

4488.     Tea-pot.    D.  3J  in.     Loops  for  bail.     Light  fawn  clay,  yellowish- 
white  glaze.     Landscape  in  grayish-blue.  1840 

4489-     Tea-pot,  similar  to  last.     D.  2J  in.     Jewels  in  grayish-blue.      1840 


449^-    Water-holder,  nearly  square.     W.  5  in.    Yellowish-white  clay  and  // 

glaze  finely  crackled.     Landscape  on  side  and  top  in  bluish-black. 

Tempo  Ju-ni-nen  ushi  ku  gatsu  kichi  nichi  Taizan  (inc.).  1841 


)\ 


%'* 


WHITE   SATSUMA    (brown  decoration)  ^4/         ^ 

449^-     Tea-pot.     D.  4J  in.     Supports  for  bail  handle.     Light  fawn  clay, 
yellowish-white  glaze.     Various  seals  in  light  brown  and  black.  1840 

449<2-     Shallow  bowl.     D.  5^  in.    Yellowish-white  clay  and  glaze.     Rough  decoration 
of  diaper,  dragon,  etc.,  in  brown.  1840 


\-  '  -  -^  V 

Of    '"HE 

VJNlVt.  SITY 


) 


PROVINCE   OF  SATSUMA 


335 


4493-  Bowl.     D.  3J  in.    Yellowish-white  clay  and  glaze.     Rough  decoration  in  dark 
brown  and  reddish-brown.     Resembles  Shino.  1850 

4494-  Wine-bottle,  with  tubular  perforation  through  body 
and  wistaria  twig  handle.  H.  6J  in.  Yellowish-white  clay  and 
glaze.     Rough  decoration  in  brown.     Okina  in  leaf  (written). 

1830 
WHITE   SATSUMA   (purple  glaze) 

4495-  Incense- BOX  (badger).  H.  3  in.  Yellowish-white  clay. 
Inside,  yellowish-white  glaze.  Outside,  dull  purple  glaze  mi- 
nutely pitted.     Unique  form.  1780 

TACHINO   (Case  38) 

Potters  from  Fukurosa  came  to  Tachino  in  the.  early 
part  of  the  seventeenth  century.     In  1830,  or  thereabouts, 
the  white  pottery  began  to  be  decorated,  and  this  was  signed  with  a  written  mark, 
Satsu  sei  (Ninagawa  MSS.). 

4496'    Covered  bowl.    D.  4J  in.   Yellowish-white  clay  and  glaze  finely  crackled.       3»y 
Landscape  in  bluish-green.     Satsu  sei  (written).  1830 


4494 


*|J 


SESHIMA   (Case  38) 

At  Tana-Ura  a  potter  by  the  name  of  Seshima  Kumasuke  has,  within        ^^ 
recent   years,   made   an  enormous   amount  of  decorated  Satsuma  for  the 
foreign  market.     A  little  cup  in  the  collection,  and  possibly  two  others,  which  are 
here  catalogued,  were  made  for  native  use. 


4497-     Wine-cup,   polygonal   sides.      D.   2%  in.     Cream-white  clay  and   glaze 
plum  tree  and  bird.     Seshima  sei  (written).  i860 

4498*.    Incense-stick  burner  (?)    Satsuma  Seshima  sei  (imp.). 


Inside, 


1880 


Gift  of  Arthur  French. 


4499-     Beaker.     D.   3   in.     White   clay   and  glaze.      Monkey  and   plum 
blossoms  modeled  and  applied.     Satsuma  Seshima  sei  (imp.).  1880 

Gift  of  Arthur  French. 


4497       4499 


YAMAHARA   (Case  38) 

A  shallow  bowl  in  the  collection  bears  the  sharply  impressed  mark  Yamahara. 
No  information  is  at  hand  regarding  the  potter,  though  the  piece  has  been  repeatedly 
identified  as  Satsuma  by  old  Japanese  experts. 

4500.     Shallow  bowl.     D.  5J  in.     Very  fine  light  fawn  clay,  light  fawn  glaze       >{4^ 
finely  crackled.     Inside,  rough  landscape  in  dark  gray.  1780  ^^^ 

Yamahara  tsukuru  (imp.).  ^^ 


334  THE   CATALOGUE 

NAYESHIWOGAWA  (Case  38) 

Under  this  name  may  be  included  the  pottery  bearing  the  mark  Naye,  which  is 
said  to  have  been  a  common  signature  for  the  potters  of  Nayeshiwo- 
gawa  one  hundred  and  fifty  years  ago.     The  mark  is  extremely  rare. 

4501.     Tea-jar.      H.  2|  in.     Light  buff  clay,  golden-brown  Raku  glaze, 
coarsely  mottled  with  olive-green  and  reddish-brown.    Naye  (imp.).        1740 

4501 


The  following  provinces  are  of  minor  importance ;  some  of  them  are 
represented  in  the  collection  by  a  single  object.  With  few  exceptions  the 
pottery  has  but  little  merit,  and  for  want  of  room  they  are  not  placed  on 
exhibition. 


PROVINCE   OF   IWASHIRO 

There  is  little  of  interest  in  this  province  for  the  student  of  Japanese 
pottery.  Various  kinds  of  stone  pottery  and  porcelain  have  been  made  for 
a  number  of  years  in  Hongo,  and  in  a  commercial  way  the  work  has  been 
a  success,  much  of  it  being  sold  in  the  Tokyo  market.  For  the  collector, 
however,  nothing  of  interest  is  found.  Even  the  soft  pottery,  with  one 
exception,  has  little  merit. 

AIDSU 

4502  .     Bowl.     D.  54  in.     Hard  brown  clay,  grayish  glaze  with  dark  crackle.  1680 

This  piece  was  brought  from  Hongo  by  Mr.  H.  Takamine  as  being  the  earliest  Aidsu. 
It  bears  some  resemblance  to  Hagi. 

4503~45''^*'     FooD-BOWLS.     Hard  gray  clay,  firm  light  glaze,  ringing.  1850 

4507*'     FooD-BOWL.     D.  5  in.     Light  gray  clay,  dark  brown  glaze  mottled.  1858 

4508  .     Incensk-box.     D.  2^  in.     Light  buff  clay,  yellowish  glaze.     The  seven  jewels  in 
blue,  green,  and  yellow  enamels,  and  brown  and  red.     Ninsei  (imp.).  1878 

A  rough  piece  of  work. 

45*^9  •    Jar.     H.  6|  in.     Brick-red  clay  coarsely  granulated,  dark  drab  underglaze,  splash 
of  thick  white  granulated  overglaze  running  in  slender  streams  from  shoulder.  1880 


kozan  i;s 

4510*.  Incense-box  (tea-mill).  D.  z-^^  in.  Light  gray  clay,  reddish  transparent 
glaze,  punctured.  Meiji  ju-san-tien  Koshin  gatsu  Iwashiro  Hongo  Tokoshi  Onodera. 
Kazan  tsukuru  (inc.).  1880      45'° 


% 


CASE    38 


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PROVINCES  OF  SATSUMA  AND  OSUMI 


O?   THE 

UNiVtKSlTY 


PROVINCE   OF  IWASHIRO  335 

NIHON    MATSU   (imitation  of  Banko  pottery) 

451 1*.    Tea-pot.    D.  3  in.    Gray-drab  clay,  unglazed  surface  roughened  by  lines  of  cord 
impressions.     Formal  clouds  and  chrysanthemums  in  blue,  green,  and 
white  slip,  with  yellow  and  pink.     Sosho-Unke  (imp.).  1880 

4512*.     Wine-bottle.     H.  6^  in.     Looped  handle.     Unglazed  sur-       Vv^^^V       •ii^ 

face  roughened.     Bamboo  and  plum  blossom  in  white  tinged  with 

pink  and  green.     Sosho  (imp.).  1880  45"  45'^ 

45^3*-  Tea-pot.  D.  2|  in.  Gray-drab  clay  unglazed.  Basket  impression.  Flowers 
and  leaves  in  white,  pink,  and  green.  Perforated  design  of  plum  blossoms  on  handle. 
Unsigned.  1880 

45^4**     Tea-pot.     Ti.  2,\  in.    Dark  gray  clay,   unglazed.      Basket   im- 
pression.    Peony  in  green,  white,  and  pink.     Shingetsu  ken  (imp.).     1880 

45^5*'      Brush-holder.      H.    4    in.      Brownish-gray     clay    unglazed. 

Flowers  and   leaves  most  skilfully  modeled   and   applied.     Ornamental 

border  impressed  about  rim. 

Banko  and  Shosendo  Giokurin  tsukuru  (imp.).  1880       4514  45' S 

KOGAI 

4516*.  Cup.  D.  3J  in.  White  clay,  greenish-white  glaze.  Finger-mark  impressions  and 
scratches.  1878 

ISAKA 

45^7  •  Deep  cup.  D.  3  in.  Coarse  buff  clay,  thick  bluish-gray  glaze  clouded.  Flowers 
roughly  incised.  1880 

ADACHI 

45^8  •  Incense-box,  hat-shaped.  D.  3J  in.  Light  yellowish-buff  clay  and  glaze.  Plum 
blossoms  in  blue  and  white.  1855 

FUKUSHIMA 

45^9  •  Cake-dish  (Haliotis).  L.  7^  in.  Soft  reddish  clay,  thick  white  glaze,  dark 
crackle.     Figures  in  various  colors  inside.  1880 

4520*.  Cake-dish.  D.  6J  in.  Scalloped  edge.  Buff  clay,  white  glaze  coarsely  crackled. 
Inside,  chrysanthemums  in  various  colors.  1880 


336  THE   CATALOGUE 

PROVINCE   OF   BINGO 

The  pottery  of  this  province  at  present  consists  of  utensils  for  domestic 
use.  In  the  village  of  Tomotsu  small  pieces  for  common  use  are  made. 
These  have  the  merit  of  being  cheap  and  serviceable. 

TOMOTSU 

4521*.    Flower-vase.     H.  5  in.    Light  reddish  clay,  green  glaze  closely  mottled  with  light 
fawn.  1880 

4522*.    Covered  bowl.    D.  4^«  in.     Coarse  lightest  red  clay,  thick  dull  light  gray  glaze 
coarsely  and  irregularly  pitted.  1880 

4523*.     Sauce-dish.    L.  4}  in.     Reddish  clay,  outside  unglazed.     Fret  impressed  about 
rim.     Inside,  dull  grayish-white  glaze.  1880 


PROVINCE   OF  UGO 

There  are  no  records  available  concerning  the  pottery  of  this  province. 
In  the  town  of  Akita  there  was  at  one  time  produced  a  decorated  pottery, 
as  is  attested  by  a  single  specimen  in  the  collection. 

AKITA  I  ^A^l 

4524*.  Furnace  for  tea-pot,  in  two  parts.  H.  4f  in.  Grayish-drab  clay,  \^0/ 
thin  yellowish-white  glaze  finely  crackled  in  portions.  Over-decoration  of  bird  ^  ^ 
and  flowers  in  various  colors.     Akita  (imp.).  1830  4524 


PROVINCE   OF   HOKI 

In  1825  the  governor  of  Hoki  built  an  oven  in  his  castle  grounds  and 
made  small  pieces  of  pottery,  such  as  incense-boxes  and  the  like. 

4525   •     Box  (peach).     L.  3  in.    Soft  grayish-white  clay,  yellowish-white  glaze  clouded  with 
pink ;  leaves  glazed  green.     On  the  box  containing  this  specimen  was  written  Hoki  no  Kami. 

1825 


PROVINCE   OF   KAWACHI 

The  two  specimens  attributed  to  Mii  show  the  work  of  a  skilful  potter. 
No  mark  occurs,  and  nothing  is  known  about  the  potter. 


PROVINCE   OF  MIKAWA  337 

4526*.    Flower-vase.    H.  64  in.     Buff  clay,  grayish  underglaze,  thick  white  overglaze 
coarsely  crackled.  1875 

4527*'    Tea-pot.    D.  3  J  in.    Buff  clay,  transparent  underglaze.    Around  rim  band  of  thick 
white  overglaze.    Bamboo  in  black.  1877 


PROVINCE   OF  TAJIMA 

Idsushi  has  become  known  within  recent  years  by  its  porcelain.  Of 
special  excellence  are  the  thin  egg-shell  porcelain  and  heavier  white  porce- 
lain with  delicately  wrought  flowers,  either  in  sprays  in  slight  relief,  or 
modeled  in  high  relief  and  protected  in  deeply  recessed  panels.  The 
collection  does  not  contain  a  single  specimen  of  soft  or  hard  pottery  from 
this  province. 

IDSUSHI 

4528*.    Flower-vase.    H.  6|  in.    White  porcelain  clay  and  glaze.     Plum  blossoms  beauti- 
fully modeled.     Ei-shin-sha  (written).  1879 


PROVINCE   OF   MIKAWA 

Pottery  was  made  in  this  province  at  an  early  date.  Little  plates  for 
offering,  supposed  to  be  nearly  nine  hundred  years  old,  are  dug  up  on  the 
sites  of  ancient  ovens.  Wagen  (Zengoro)  made  pottery  for  a  while  in  Oka- 
zaki.  In  1880  tea-pots  and  other  utensils  were  made.  No  records  are  at 
hand  regarding  the  potters. 

MIKAWA 

4529*.  Small  plate.  D.  3i  in.  Coarse  grayish-drab  clay  with  white  granules  intermixed. 
Surface  slightly  vitreous.  1280 

This  piece  is  similar  to  the  ancient  Shigaraki  plate  (see  No.  623). 

OKAZAKI 

4530*'  Flattened  tea-pot,  D.  4  in.  Gores  cut  out  of  single  sheet  of  clay,  and  folded 
above  and  below  to  form  the  pentagonal  body.  Fine  cloth-mark  impression  over  all.  Light 
fawn  clay,  smooth  cream  -  white  glaze.  Mythological  animals,  clouds,  pine  needles,  etc., 
in  grayish-blue.      Yatsuhashi  tsukuru  (written).  i860 

The  piece  shows  dexterous  manipulation. 

453^*'  Tea-pot.  D.  2|in.  Fine  light  buff  clay,  unglazed.  Rude 
flower  in  blue,  red,  and  green  enamels  shaded  with  brown  and 
yellow.     Moriyoshi  (imp.).  1870 

4532*-4534*.    Tea-pots  and  tea-cup.     (Eid,  4534.)         1880       4530        4S3>  4534 


338  THE  CATALOGUE 

KAKITSUBATA 

A  pottery  bearing  the  impressed  mark  Kakitsiibata,  and  occasionally  an  additional 
mark  of  Okunisan,  has  long  been  a  puzzle  to  experts.  Ninagawa  identified  a  cup 
of  this  pottery  as  Kyoto;  other  specimens  did  not  confirm  this  identification,  and 
from  the  resemblance  of  one  piece  to  a  later  Satsuma  bowl,  coupled  with  the  mark 
Okunisan  (Honorable  Province),  the  pottery  was  doubtfully  referred  to  Satsuma. 
Now  Mr.  Hiromichi  Shugio,  who  had  long  sought  for  some  light  in  regard  to  these 
enigmas,  has  written  to  me  from  Japan  that  Kakitsubata  was  made  in  the  province 
of  Mikawa,  and  not  in  Satsuma.  He  has  found  that  the  pottery  was  made  in  the 
village  of  Kusumura,  Mikawa,  about  sixty  years  ago.  On  the  authority  of  Mr.  Shugio 
the  following  pieces  bearing  the  mark  Kakitsubata  are  included  with  Mikawa. 

4535  •    Tea-cup.    D.  2  J  in.    Modeled  by  hand  with  strong  finger-mark  impressions. 
Light  reddish  clay,  brown  glaze  clouded.     Kakitsubata  (imp.).  1840 

4530  .    Tea-bowl.     D.  4 J  in.     Reddish-brown  clay,  dead  seal-brown  glaze  mottled 
with  greenish  fawn,  with  reddish  rim.     Kakitsubata  (imp.).  1840 

4537  •    Tea-bowl.    D.  4I  in.     Modeled  by  hand.     Dead  gray-drab  clay,  fawn  glaze  with 
bluish  drops  strongly  crackled.     Okunisan  (imp.).  1840 

453°  •    Flower-holder,  in  form  of  melon.     H.  4J  in.     Brown  clay,  grayish 
underglaze,  olive-green  overglaze.     Kakitsubata  and  Okunisan  (imp.).  1840  ^g 

Gift  of  W.  S.  Bigelow.  W 

4539*-     Flaring  bowl.    D.  7J  in.    Modeled  by  hand.    Light  buff  clay,  drab  HOT 

glaze  with  light  bluish  shading.    Inside,  spray  of  plum  tree  modeled  and  applied.  \^' 
Kakitsubata  and  Okunisan  (imp.).                                                                       1840  4538 

Gift  of  W.  S.  Bigelow. 


PROVINCE   OF   TANGO 

A  RECTANGULAR  plate,  moulded  after  the  style  of  Shido,  Sanuki,  bears  a 
raised  inscription  of  Hashidate,  Tango,  etc.  Nothing  is  known  about  the 
potter  or  oven. 

HASHIDATE 

454*^  •    Cake-plate.    L.  9  in.    Rectangular,  wavy  edge.     Soft  light  fawn  clay,  bright  green 

glaze.     Landscape  moulded  inside  with  dull  purplish  tinges  and  ye 'low  clouds. 

Hashidate,  Tango,  in  relief  inside,  with  poem.  1800 


PROVINCE   OF  AWA  339 

PROVINCE   OF  MIMASAKA 

In  the  early  part  of  the  eighteenth  century  potters  were  invited  to  the 
castle  of  the  Daimyos  of  this  province  for  the  purpose  of  making  tea-utensils. 
The  tea-jars  were  globular  in  shape,  square-shouldered  with  black  glaze,  and 
are  known  as  Ko-katatsuki. 


KO-KATATSUKI 

4541*.    Tea-jar.    H 

of  brighter  overglaze.     Wavy  zone  incised  about  body.     Coarse  thread-mark.  1700 


4541*-     Tea-jar.    H.  2^^  in.     Dull  black  clay,  thin  lustreless  seal-brown  glaze,  with  drops 


PROVINCE   OF   KAI 

The  records  are  scant  regarding  the  potters  of  this  province.     The  two 
objects  are  placed  here  on  the  authority  of  Japanese  experts. 

454^**     Bowl.      D.  4^  in.     Very  coarse  clay,  yellowish-white  glaze.     Large  white  granules 
from  which  coarse  cracks  radiate  into  the  glaze.  1830 

MEIZAN  rz— 

4543   •     Water- JAR.    H.  6f  in.    Looped  handles.    Fine  gray-drab  clay,  roughened     \\\j 

surface,  brown  underglaze,  splash  of  deep  blue  overglaze,  running.    Meizan  (imp.).      L^ 

This  piece  might  have  been  made  by  Meizan  of  Kyoto.  1870       4543 


PROVINCE   OF   AWA 

No  information  can  be  obtained  regarding  the  pottery  of  this  province. 
In  1879  a  peculiar  type  of  rough  pottery  with  pine  in  relief,  and  bearing  the 
mark  Togentei,  was  sold  in  the  Tokyo  shops.  It  was  said  to  have  been 
made  in  Awa  near  by. 

TOGENTEI 

4544  •  Bowl,  for  tea-rinsings.  D.  5  in.  Deeply  scalloped  edge.  Hard  rough 
light  brown  clay,  coarse  brown  glaze  mixed  with  sand.  Disks  of  pine  leaves 
moulded  and  applied.     Unglazed.     Togentei  (imp.).  1880 


.# 


4545  •  Flower-vase,  cylindrical.  H.  9I  in.  Light  reddish-brown  clay,  rough 
brown  sanded  glaze.  Pine  branch  modeled,  and  pine  disks  moulded  and  applied, 
glazed  green.     Unsigned.  1880         4S44 


Ik. 


340 


THE  CATALOGUE 


PROVINCE   OF   ETCHU 

This  province,  on  the  western  coast  just  north  of,  and  contiguous  to, 
Kao-a,  has  Httle  to  show  in  the  way  of  pottery.  In  the  village  of  Uyefu  an 
oven  was  built  in  1820.  The  clay  was  poor  and  the  pottery  was  bad.  Nina- 
gawa  records  a  tea-jar  said  to  have  been  made  in  Etchu  in  1701.  In  the 
village  of  Seto  a  rough  brown  glazed  pottery  was  made  by  a  potter  from 
Seto,  Owari.     It  has  no  mark  nor  merit. 

SETO 

4546*.    Dish,  crenulated  rim.     D.  7iin.    Buff  clay,  deepest  brown  Seto  glaze  mottled.    1878 


PROVINCE  OF  UZEN 

The  only  specimen,  in  the  collection,  representing  this  province  is  a 
bowl  made  to  commemorate  the  opening  of  a  famous  tunnel  near  Yamagata. 

YAMAGATA 

4547*'     Shallow  bowl.    D.  4f  in.    Light  brown  clay,  light  gray  glaze, 
brush-mark  of  white  inside  and  out.     Characters  written  in  brown. 
Yamagata  ken  (imp.).  1870 

4547 


PROVINCE  OF  ECHIGO 

Within  fifty  years  a  pottery  has  been  made  in  the  town  of  Shibata. 
The  two  specimens  in  the  collection  are  tea-pots,  hand-made  after  Banko 
style. 


SHIBATA 


4548*.  Tea-pot.  D.  2^  in.  Moulded  by  hand.  Fine  light  reddish  clay  unglazed. 
Handle  in  form  of  fungus.  Tea-service,  flowers,  fruit,  and  poem  incised.  Fret  im- 
pressed around  rim.     Hoshina  and  Beikoku  (imp.).  1840 

4549*-    Tea-pot,  similar  to  last,  with  poem  only  incised  on  side. 

Hoshina  and  Beikoku  (imp.).  1840 


PROVINCE   OF  INABA  341 

PROVINCE   OF   RIKUOKU 

In  1858  an  attempt  was  made  to  establish  a  pottery  in  Tsugaru,  and 
small  vessels  were  made,  among  which  were  some  good  examples  of  glaze. 
The  pottery  was  known  by  the  name  of  Akuto. 

AKUTO 

4550*'  Beaker.  D.  3!  in.  Fine  gray-drab  day,  clear  brown  glaze  clouded,  irregular 
splashes  of  light  olive-green  overglaze.  Inside,  thick  white  glaze  running  over  rim.  The 
piece  shows  the  work  of  a  skilful  potter.  1850 


PROVINCE   OF  SHIRABESHI 

In  this  province  on  the  north-west  coast  of  Yeso,  there  has  been  estab- 
lished within  recent  years  an  oven,  the  products  of  which,  judging  by  the 
single  example  in  the  collection,  show  the  work  of  an  ingenious  potter. 
The  specimen  is  ornamented  with  incised  lines,  the  motive  being  taken 
from  prehistoric  pottery  found  in  the  shell  heaps  just  south  of  the  town  of 
Otaru. 

OTARU  #l'J^t> 

455^**    Tea-pot.     D.  3J  in.    Fine  dark  grayrdrab  clay  unglazed.    Rude  decora- 
tion incised  on  cover.     Cord-mark  impression  on  side. 
Hokkukai,  Otaru,  Honda  \_Tori1'\  f«  (imp.).  1886  455' 


PROVINCE   OF   INABA 

A  NUMBER  of  specimens  in  the  collection  signed  In  Kyuzan  (the  In  being 
in  a  separate  square)  have  proved  veritable  puzzles  to  the  Japanese  expert. 
The  objects  all  differ  widely  from  one  another  in  character.  A  bowl  was 
variously  identified  as  Ohi,  Suruga,  and  Kyoto ;  another  bowl  resembles 
Kitakoji  pottery;  a  third  might  be  mistaken  for  Zeze.  The  pieces  alto- 
gether suggest  the  work  of  a  Kyoto  potter.  They  are  all  designed  for  the 
tea-ceremony,  and  may  have  an  age  of  fifty  years.  At  one  time  I  was  in- 
clined to  regard  them  as  having  been  made  by  Kyuzan  of  Osaka,  and  I  am 


342  THE   CATALOGUE 

not  yet  persuaded  that  this  attribution  is  wrong.  The  /«,  however,  is  said, 
by  those  to  whose  authority  I  reluctantly  yield,  to  stand  for  Inaba.  I  can 
find  no  records  of  the  potter  or  furnace,  and  for  some  years  no  pottery 
of  this  description  has  been  made  in  the  province.  The  objects  are  in 
Case  39. 

KYOZAN   (Case  39) 

4552.  Tea-bowl.  D.  5J  in.  Dead  reddish-brown  clay,  rich  yellow-orange  glaze  with  darker 
areas.     In  Kyuzan  (imp.). 

4553.  Tea-bowl.  D.  4^  in.  Coarse  brownish  clay,  transparent  glaze  mot-  WJ  ^ 
tied  with  cream-white  and  rich  olive-brown  glaze,  with  bluish  flecks  running.  ^X^  ^ 
In  Kyuzan  (imp.).  1X4         ^ 

4554.  Tea-jar.  D.  3  in.  Fine  fawn  clay  tinged  with  red,  mottled  light  4552  4553 
olive-brown  glaze,  cream-white  overglaze  on  shoulder.     In  Kyuzan  (imp.). 

4555.  Incense-box  (rabbit).     L.  2|  in.     Hard  white  clay,  cream-white  glaze.     Eyes  and 
nose  touched  with  blue.  cd 
In  Kyuzan  and  Kan  [?]  (doubtful  mark  only  is  figured)  (imp.).                                 ,            ^ 

455^'     Rest  for  tea-pot  cover  (boy  looking  in  well).     H.  \\  in.     Fine  «^*        ^ 

light  reddish  clay,  light  gray  glaze  closely  covered  with  dots  of  white  slip.  ^^ 

Drapery  of  figure,  green  glaze.      Hat,  white  glaze.      Clay  closely  resembles  IsaD 

Kyuzan  of  Settsu.     In  Kyuzan  and  Kan  (imp.).  4SSS        4SS6 

4557.  Bowl,  for  rinsings.  D.  5^  in.  Coarse  dead  light  brown  clay,  thick  light  greenish 
glaze.     Strong  left-hand  spiral  on  base.     In  Kyuzan  and  Anshi  (imp.).  «^ 

4558.  Tea-bowl.  D.  4I  in.  Dark  brown  cla)',  thick  dark  brown  glaze  punctured,  jr 
In  Kyuzan  and  obscure  mark  (imp.).  t^ 

4559-     Incense-burner.     D.  4I  in.    Perforated  silver  cover.    Fine  light  brown  clay, 
clear  light  olive-brown  glaze,  splashes  of  fawn  glaze  running.     In  Kyuzan  (imp.). 


4SS7 


The  objects  thus  far  catalogued  have  been  grouped  under  their  respec- 
tive provinces  and  potters.  There  are  a  number  among  these,  however, 
upon  which  fair  doubts  may  be  entertained,  and  these  doubts  have  been 
expressed  in  the  catalogue.  There  are  many  other  objects  in  the  collection 
which  have  not  been  included  in  the  main  catalogue,  and  these  are  either 
of  doubtful  attribution,  or  enigmas  which  have  puzzled  every  one.  Many 
of  these  were  submitted  to  famous  experts  in  Japan,  antiquarians  such  as 
Ninagawa,  Maida,  Kohitsu,  Shioda,  and  others,  with  no  success  as  to  the 


OF  DOUBTFUL  PROVENANCE  343 

provinces  to  which  they  belong.  Among  the  unidentified  pieces  are  many 
made  by  amateur  potters  or  Chajins,  and  the  difficulties  attending  the 
identification  of  this  material  have  already  been  dealt  with  in  the  Introduc- 
tion (page  5).  For  convenience  of  reference  all  of  these  pieces,  doubtful  and 
unknown,  are  serially  catalogued  with  those  objects  already  described  in 
this  volume.     Some  of  these  may  found  in  Case  39. 

The  objects  brought  together  to  illustrate  the  various  uses  for  which 
pottery  is  designed  are  also  catalogued  continuously  with  the  rest,  but 
slight  allusion  will  be  made  to  them  further  than  may  be  found  in  the  brief 
notes  on  pp.  13-21. 


OF   DOUBTFUL   PROVENANCE 

PROVINCE   OF   CHIKUZEN    (Case  39) 

4572*.     Tea-pot.     D.  2f  in.     Fine  brown  clay,  chocolate-brown  glaze  with  slight  lustre, 
Kan-un  (imp.).  1850      t  .    r\r\ 

4573*     Jar.     H.  6|  in.     Light  fawn  clay,  hard  light  blue  glaze.     Panels  and       i^^J-Jf'-M 
bands  of  impressed  circles,  flowers,  etc.,  in  white  Mishima. 


4574.     Tea-bowl.     D.  4J  in.     Dark  brown  clay  and  glaze.     Mitsuko  (inc.).  4572 

4575*.     Shallow  bowl.     D.  \\   in.     Fine  gray-drab   clay,    dull  brown  underglaze,  rich 
brown  overglaze  becoming  nearly  black  inside ;  area  of  thick  gray  glaze 
inside.     Sada  ichi  (inc.).  1850 


^1    f,^ 

4S7S  4577 


PROVINCE   OF   ECHIZEN 

4577*'    Tea-jar,  with  handle.     H.  2J  in.     Light  brown  clay,  dull  light 
yellow  glaze.     Roughly  turned.     Fukuyama  (imp.). 

PROVINCE   OF   HARIMA  (Case  39) 

4579-     Hand-warmer,  in  form  of  elephant,  strongly  modeled.     L.  14I  in.     Brownish  clay, 
thick  dull  green  glaze  with  brownish  areas. 


PROVINCE   OF   HIGO   (Case  39) 

4583—4585-  Incense- BURNERS.  These  three  objects  have  been  doubtfully 
attributed  to  Yatsushiro.  They  have  a  hard  reddish-brown  clay,  dark  or  light 
gray  glaze.     Various  designs  in  white  and  black  Mishima.     All  unsigned. 

4586.     Globular  bottle,  with  pottery  cover,  roughly  made.     H.  4^  in.     Dull 

fawn  clay,  dull  olive-green  glaze  with  areas  of  white.     Gen  (imp.).  1850  4586 


# 


344 


THE  CATALOGUE 


PROVINCE   OF   HIZEN   (Case  39) 

4598.     Bowl.     D.  5^  in.     Light  yellowish  clay  and  glaze.     Floral  decoration  in  brown. 

The  basal  ring  has  been  carefully  turned,  and  another  ring  has  been  applied,  the  joint 
distinctly  showing. 


PROVINCE   OF   IGA 

4605*.    Incense-box.     D.  \\\  in.     Soft  light  buff  clay, 
transparent  underglaze,  splash  of  dull  greenish- 
white  overglaze.     Zen  kyu  (imp.).  1830 
Evidently  the  work  of  an  amateur. 


PROVINCE    OF   ISE     (Case  39)  ^(^^ 

4616.  Plate,  roughly  made.  D.  9}  in.  Hard  fine  clay, 
thick  gray  glaze  with  wide  cracks.  Over-decoration  of 
rock  in  blue,  plum  branch  in  dark  gray,  blossoms  in  white 
slip.     Goyo  dokoro  on  dokishi  Sawaragi  Marudayu  (imp.). 

1870 

4617   .    Tea-pot.     D.  3I  in.     Fine  reddish-brown  clay, 
unglazed.     Delicately  modeled  with 
exceedingly  thin  walls.  /^ 

Mugan-raku  (imp.).  IBk) 


4618*.  Plate.  D.  zjin.    Moulded.  I 

Blue  glaze.     An  (imp.).  4617 

4619*.     Flower-vase  on  three  short  legs.     H, 
greenish-blue  glaze.    Kido  (imp.). 


% 


ihn^ 


I 


4618 

35  in.    Modeled. 


4616 
Light  brown  clay,  light 


PROVINCE   OF   lYO 


NINKEI 

4621*.     Sauce-dish.     L.  4  in.    Rough  light  fawn  clay,  transparent  glaze, 
and  zigzag  lines  in  white  Mishima.     Ninkei  (imp.). 

Recent 
PROVINCE  OF   KAGA 

4623*.     Incense-box,  turtle.  L.  2|  in.   Light  brown 

clay  and  glaze.     Kuho  (imp.).  4621 

4624*.     Bowl.     D.  5J  in.     Soft  light  salmon  clay,  transparent  under- 
glaze, thin  white  overglaze.      Outside  and  half  of  inside  with  over- 
decoration  of  leaves  in  olive-brown,  and  wavy  lines  in  light  blue. 
Towo  (written). 

4626*.     Bowl,   irregular.     D.   5^   in.     Thick  walls,   modeled.     Ohi 
clay  and  glaze.     Hatara  (inc.). 


Inside,  flowers 


J^ 


ciay  ana  giaze.     Jiaiara  (vac).  ^^ 

4629*.     Incense-box,  bird.    L.  2f  in.   Modeled.    Green-        ^^^F 
ish-yellow  glaze  with  brownish  areas.     A  kakihan  (imp.).  4629 


%'^ 


4626 


OF  DOUBTFUL  PROVENANCE  345 

PROVINCE   OF   KII 

4636  .    Incense-burner.   H.  2^111.   Greenish-blue  glaze.    Landscape  in  black.   A'a«(imp.), 

PROVINCE   OF   MINO  (Case  39) 

4^39-  Cylindrical  flower-vase.  H.  7J  in.  Hard  light  clay,  finely 
mottled  brown  underglaze,  streams  of  white  overglaze  closely  mottled  with 
fawn.     Tanzan  (imp.).  Recent       4636        4639 

PROVINCE   OF   MUSASHI 

MAKUDSU 

4640*.     Heavy  bowl.     D.  s|  in.    Light  clay,  thick  white  glaze.     Dragon  in  blue  inside 
Makudsu  (imp.). 

Probably  made  by  Makudsu  at  Yokohama. 

4643*.  Sauce-dish.  L.  2|  in.  Moulded.  Light  brown  clay,  thin  green 
glaze.  Inside,  white,  purple,  and  green  glaze.  Design  of  flowers  and 
leaves  in  high  relief.     Zen  (imp.). 


4645 


KEIZAN     (Case  39  and  Plate  XXVIII.  4645,  4646) 

4645.    Fire-vessel,  bail  handle.    H.  10  J  in.    Light  brown  clay,  thin  ochre-colored  glaze,  not 
crackled.      Elaborate  designs  of  scrolls,  etc.,  incised.     Cover,  with 
perforated  designs.     Aya  matsu  ga  and  Keizan  (imp.). 

4040.     Ornamental  vase,  modeled  after  form  in  bronze.    H.  15J  in. 
Elephant  handles  with  rings  pendent.    Light  olive-brown  glaze,  coarsely 
crackled.     Unglazed  panels  on  sides  with  formal  scrolls  deeply  cut, 
touched  with  light  yellow  and  bright  blue  enamels.     Ornamental  rim 
and  base  with  formal  scrolls  deeply  cut.     Ayayaki  and  Keizan  (imp.). 
These  two  pieces  have  been  veritable  puzzles  to  Japanese  experts. 
Under  Teizan  it  is  recorded  that  two  princes  of  the  Tokugawa,  in  the  early  part 
of  this  century,  made  objects  in  pottery  after  their  own  fancy.     This  work  was 
done  at  the  oven  of  Korakuyen.     They  signed  their  work  Teizan  and  Keizan 
respectively.     The  single  authoritative  piece  from  Ninagawa  (No.  4071),  made 
by  Teizan,  is  such  as  an  amateur  might  make.     The  two  doubtful  pieces  above 
described  bear  the  mark  Keizan,  and  one  of  the  pieces  has  in  its  ornamentation  the  crest  of 
the  Tokugawa.    With  these  faint  clues  and  the  evidences  of  fair  age  I  venture  to  suggest  that 
they  might  have  been  the  work  of  Keizan,  —  a  strong  objection  against  this 
attribution  being  that  the  work  is  far  beyond  the  ability  of  an  amateur.  A 

PROVINCE   OF   OMI   (Case  39) 

4653  •  Tea-jar.  H.  3I  in.  Light  brown  clay,  Seto  glaze  with 
splashes  of  lustrous  golden-brown  and  deepest  brown  overglaze. 
Base  depressed,  no  threadmark.    Ji  (inc.). 

4657-     Tea-pot.     D.  3^  in.     Modeled.      Fine  dark  brown  clay, 
unglazed.     Formal  design  of  flowers,  rock,  etc.,  carved  in  relief. 
Handle  of  cover  carved  in  scrolls  and  perforated.     Incised  design 
Shizen-an  (inc.). 


-ft 


f 


4653  4657 

about  rim  and  cover. 


346 


THE   CATALOGUE 


4660.     Bowl,  roughly  modeled.     D.  4^  in.     Fine  white  clay,  glistening  yellow  glaze  with 
areas  of  rich  golden-brown  overglazC.     Baikei  Shujin  kore  wo  tsukuru  (inc.). 
Supposed  by  some  to  be  the  work  of  Bairin. 

PROVINCE   OF   OWARI 

4667*.  Tea-jar,  with  tea-pot  nozzle.  H.  2  J  in. 
Light  brown  clay,  light  brown  glaze  finely  mot- 
tled. Streams  of  dark  brown  overglaze  running 
from  shoulder.     Kanko  (imp.). 

4672*.  Basket-shaped  dish. 
L.  6J  in.  Light  brown  clay, 
unglazed.  Surface  deeply  in- 
dented to  represent  basket- 
work.    Baishi  (imp.).  Recent 


4660 


Dish.      D. 


4^ 


4678* 

Rings  on  sides  adherent.     Light  brown  clay,  lustrous  dark  brown  glaze.     Yoki  (imp.).     1830 

4680*.     Dish,  lotus  leaf,  knobbed  supports.     D.  5J  in.     Moulded. 


Hanko  (imp.). 


* 


4678        4680 


4681 


4684 


Light  gray  clay,  cream-white  glaze. 
Strongly  resembles  Hagi. 

4681*.     Tea-pot,  square  mouth.      D.  3I  in.      Modeled.      Brown 
clay  and  glaze.     Sei  (imp.). 

Closely  resembles  Tokoname. 

4684  .     Bowl.    D.  3^  in.    Hard  light  clay,  glistening  brown  glaze,  mottled  with  large  round 
spots  of  light  brown  glaze.    Inside,  light  greenish-blue  glaze  with  spots  of 
dark  brown  glaze,  coarsely  crackled.      Yoshi  (imp.). 

4686*.  Deep  bowl,  sides  slightly  flattened.  D.  6  J  in.  Light  fawn  clay, 
transparent  glaze,  large  splash  of  thick  green  overglaze  inside  and  out. 
Rough  sketch  of  branches  in  brown.     Utatsu  (imp.).  Recent 

4693*.     Covered  bowl,  deeply  turned.     D.  3J  in.     Soft  salmon  clay  and  glaze, 
white  glaze.     Tanoshii  (imp.). 

PROVINCE    OF   SANUKI   (Case  39) 

4696.  Cake-box,  hexagonal.  D.  7  in.  Fine  light  salmon  clay  and  glaze. 
Recessed  panels  on  sides  and  cover,  with  widely  perforated  designs  of  diapers, 
glazed  alternately  blue  and  green. 

4697*.  Tea-bowl.  D.  4}  in.  Raku  clay,  light  red  Raku  glaze,  with  fawn 
mottling  and  large  areas  of  greenish  overglaze.     Ten  (imp.). 

PROVINCE   OF   SETTSU    (Case  39) 

4701.     Bowl.     D.  4 J  in.     Thick  and  heavy.     Coarse  fawn  clay,  very  thick 
rich  brown  underglaze,  rich  white  overglaze  mottled  and  streaked  with  brown.    Keiben  (imp.). 
This  mark  has  perplexed  the  readers  of  Chinese  characters.    It  has  been  read  Keishoku  and 
Yoshina.    The  mark  turns  out  to  be  a  double  impression  overlapping,  and  is  now  read  Keiben. 


4701 


OF  DOUBTFUL  PROVENANCE 
PROVINCE   OF   TAMBA   (Case  39) 

4706*.     Wine-bottle,  square  with  corners  beveled.     H.  7I  in.     White  clay,  thick 
glaze.    Panels  of  diapers  and  frets,  lower  portion  landscape  in  relief  moulded. 
Triangle  within  triangle  impressed.  ^^ 

47II.  Fire-bowl,  twisted  handles  adherent.  D.  4J  in.  Fine  light  reddish-  1,2] 
brown  clay,  thick  grayish  -  white  glaze  without  lustre.  Vertical  and  hori-  ^^ 
zontal  incised  lines  representing  basket-work.     Manzai  (imp.). 

47^3-     Wine-bottle.      H.   9J  in.     Fine  light  brown  clay,  yellowish-gray 

glaze  with  gray  areas,  thick  splash  of  green  overglaze.      Storks  and  plum  blossoms  in 

and  dark  gray.     Sa7iko  (imp.). 


tm 


white 


Light    fawn 
High  basal 


4722 


4726 


PROVINCE   OF  YAMASHIRO   (Case  39) 

4722*.     Plate,  thick  walls.      D.  5  in.     Modeled, 
clay  unglazed.    Radiating  figure  inside  in  slight  relief, 
ring.     Uni  (imp.). 

Probably  made  in  Fushimi. 

4726   .    Tea-pot,  octagonal.     D.  3J  in.     Light  brown  clay,  Awata  glaze.     Decoration  of 
grass  in  faint  olive-brown.     Kanka  (imp.). 

4729-    Flower-vase,  bucket  form.    H.  7I  in.    Light  yellow  clay  and  glaze,  thick 
whitish  overglaze  running.     Chojiro  and  Giokutei  (imp.).  Recent 

4730  •     Bottle,  thick  walls,  modeled  in  form  of  leather  bag  surrounding  bottle. 
H.  4|  in.     Gray-drab  clay,  dead  purplish-brown  glaze.    Protruding  neck  of  bottle 
and  cord  of  bag  grayish-white  glaze  touched  with  blue.     Ho  (imp.). 
This  may  be  the  work  of  Hozan  of  Kyoto. 

4731*'  Incense-box,  square.  H.  i|  in.  Coarse  brown 
clay,  thick  fawn  glaze.  Impressed  mark  has  been  vari- 
ously read  Hakusan,  Shirado,  and  Shirano. 

4732*.     Tea-cup.    D.  2%  in.    Porcelain  clay,  white  glaze.      '*^-^' 
Bright  red  surface  with  leaves  and  scrolls  in  gold. 
Honzan  (imp.).  Recent      /^\ 


4730 


4732       4733 


Gift  of  Sir  William  H.  Van  Home. 
4733-     Furnace  for  tea-pot.     H.  6  in.     Light 
straw  clay,  body  unglazed.     Around  rim  thick  light 
blue  glaze.     Inscription  signed  by  Rai  Sanyo,  a  famous  historian. 
Hosai  (imp.).     Tsuten  Kyo  Sanyo  gwaishi  Gi  to  (inc.). 

The  inscription  is  recognized  as  the  handwriting  of  Rai  Sanyo, 
and  the  piece  is  very  interesting  on  this  account. 

4735  •  Wine-bottle,  double  gourd-shaped.  H.  8^  in. 
Light  reddish  Shigaraki  clay  with  red  areas,  lines  of  thick 
whitish  glaze  around  centre  and  body.  Tokugawa  crest  in 
red.     Shinadsuma  (imp.). 

This  piece  resembles  the  pottery  grouped  under  the       4735 
name  of  Tsuyen. 


4733 


348 


THE  CATALOGUE 


D.  8|  in.     Gray  stone  clay,  light  blue  glaze.     Design  of 
In  centre,  Chinese  at  table  with  tea-utensils  at  side,  colored 


D.  3f  in.    Light  yellowish  clay  and 


4736*.  Plate,  scalloped  rim, 
flowers  impressed  about  border, 
black.     Doko  (written). 

This  piece  was  identified  by  Ninagawa  as  the  work  of  Seifu. 

4743*.  Tea-bowl.  D.  ^\  in.  Raku  clay,  light  red 
Raku  glaze  with  irregular  splashes  of  white  glaze. 
Fugetsu  (imp.).  Recent 

4744.  Plate.  D.  9}  in.  Raku  clay,  dull  reddish 
Raku  glaze,  silvered  inside.     Raku  (imp.). 

4745.  Tea-pot.    D.  3J  in.    Modeled.    Light  yellow- 
ish clay,  yellow  glaze,  irregular   splashes   of  bright       4736  4743  4744  474S 
green  overglaze.     Anshun  Raku  Seki-o  (imp.). 

4746.  Incense-burner,  twisted  handles,  three  legs, 
glaze. 
Toyushi  kore  wo  tsukuru  (inc.). 

4747'    Tea-pot.    D.  3Jin.    Modeled.    Light 
yellowish  clay,  light  red  Raku  glaze  mottled 
with  white  splashes  of  green  overglaze. 
Choshi  (imp.).  Recent 

4748.     Incense-box,  thick  walls.    W.  2J  in.       ^^^^  ^^^g 

Light  brown  clay,  deepest  brown  Raku  glaze. 
Yoshun-en  (imp.).  Recent 

4749-  Tea-pot.  D.  3  in.  Modeled.  Fine  brown 
clay,  salmon  Raku  glaze  coarsely  crackled,  splashes 
of  pale  greenish  glaze.  Setsu-o  (imp.).  Jiraku 
sat  Setsu-o  tsukuru  Kotobuki  roku-ju  roku  (inc.).  4749         4750 

Recent 

475^*    Tea-pot.     D.  2|  in.    Modeled.     I^ight  drab  clay,  thick  yellowish-white  Raku  glaze 
coarsely  crackled.     Magatama  for  handle  of  cover  glazed  light  red.     Setsu-o  (imp.). 

475^**     Tea-bowl.    D.  4J  in.    Grayish-white  clay,  black  Raku  glaze.    Fujiyama  incised  on 
side  and  glazed  yellowish-white.     Sui  (imp.). 

4757**  Deep  Raku  tea-bowl.  D.  3^  in.  Fawn  clay,  fawn  underglaze,  light 
red  Raku  overglaze.     Leaves,  etc.,  deeply  incised.     Matsuoka  (imp.). 

4758*-  Deep  vessel,  flaring  rim  with  spout.  H.  8J  in.  Hard  light  fawn  clay, 
transparent  glaze  coarsely  crackled,  irregular  spots  and  splashes  of  dark  green 
glaze.     Taihei  (imp.). 


% 


1() 

IS' 


4746 


47S7 


OF  UNKNOWN  PROVENANCE  349 

OF   UNKNOWN   PROVENANCE 

Among  the  objects  catalogued  under  the  above  head  are  many  tea-jars. 
Some  of  these  are  of  considerable  age  and  merit.  A  few  of  the  tea-jars 
are  signed  with  the  incised  mark  of  a  cross,  or  T,  or  other  simple  device. 
Some  of  these  are  undoubtedly  fraudulent,  notably  those  representing  the 
work  of  Moyemon.  Others  among  the  tea-jars  are  the  work  of  amateurs 
or  Chajins.  For  want  of  room  they  are  not  exhibited.  Unless  otherwise 
indicated,  the  objects  may  be  found  in  Case  39. 

4803*.  Tea-jar.  H.  2\  in.  Light  brown  clay,  deepest  lustrous  brown  glaze  flecked  with 
black.     Tsuno  (imp.).  .^K^ 

4807*.  Tea-jar.  H.  3}  in.  Fine  light  brown  clay,  brown  glaze,  ,_  ^^vJJ 
splash  of  thick  olive-brown  overglaze  running.    Mark  in  form  of  i  im-     "^  * 

pressed.  '^^  ^^ 

4809.  BoTfLE.  H.  10 J  in.  Hard  light  fawn  clay,  light  yellowish-brown  glaze  mottled, 
clouded,  and  iridescent.  Long  leaves  of  an  aquatic  plant  in  clear  white  glaze  strongly 
outlined  in  dark  blue. 

Gift  of  W.  S.  Bigelow. 

4810.  Large  bowl,  scalloped  rim.  D.  9J  in.  Fine  fawn  clay,  transparent  underglaze,  thick 
lustrous  cream-colored  overglaze  with  curious  vermiform  crackle.  Inside,  over-decoration  of 
pine  in  deep  brown  and  thick  green. 

Gift  of  Denman  W.  Ross. 
4812*.     Shallow  tea-bowl.     D.  5^  in.     Reddish-brown  clay,  transparent  underglaze. 
Roku-ju-shichi  0  Tosei  tsukuru  (inc.).  Recent 

4813*.  Box,  irregular,  thick  and  heavy.  H.  2f  in.  Fine  salmon  clay,  salmon  glaze  with 
large  splash  of  bright  green  overglaze.     Cloth-mark  impression  on  surface.     Yuchiku  (imp.). 

4814*.  Fire-bowl,  in  form  of  badger.  D.  i,\  in.  Coarse  brown  clay,  black  Raku  glaze. 
Ko  (imp.).  Recent 

4824.  Water-jar.  H.  4I  in.  Light  brown  clay  and  glaze  with  splashes  of  lighter  brown 
overglaze.     Peculiar  wavy  thread-mark.     Nobushige  (imp.).  Recent 

4825*.     FiRE-VESSEL,  jar  form,  thick  walls.      H.  SJ  in.      Coarse  light     ^ 

brown  clay,  thin  greenish-gray  underglaze,  splashes  of  thick  light  green      a 

overglaze.     Fubun  (imp.).  Recent 

Q  4S24 

4o27.     Bowl,  side  cut  and  lapped.      D.  3  in.      Modeled.     Fine  light 

brown  clay,  deepest  brown  glaze  with  mottling  of  yellowish  underglaze  showing  through. 

Seiju  (imp.).  Recent 

4828*.     Tea-bowl.     D.  4f  in.     Composed  of  two  colored  clays,  yellow  and  reddish-brown, 
the  yellow  showing  a  marbled  appearance  outside,  transparent  glaze.     Seiju  (imp.). 
Gift  of  W.  S.  Bigelow. 

4829*.     Bowl.     D.  5  in.     Yellowish-gray  clay  and  glaze.     Ebisu  and  mythological 
tortoise  in  light  blue.     Ke-ichi  saku  and  Shichi-ju-shi-ichi  (imp.).  4828 


35° 


THE  CATALOGUE 


4830*.     Bottle,  thick  walls,    H.  7!  in.     Light  clay,  light  yellowish  glaze  with  light  reddish 

tinges  with  bluish-gray  glaze  on  one  side.    On  remaining 

surface  figure  obscurely  drawn  with  inscription  in  white. 

Giokuto  (imp.). 

4831*.    Tea-pot,  irregular,  pinched  in  shape  by  fingers. 

D.  3f  in.     Light  brown  clay  and  glaze,  splashes  of  light 

greenish-fawn  overglaze.     Keito  (imp.). 

4832*.     Bowl.     D.  4  in.     Coarse  gray-drab  clay,  deep 
brown  underglaze,  light  greenish  overglaze.     Koshun-do  (imp.). 

4833.     Bowl.     D.  \\  in.      Light  gray  clay,  lustrous  light  brown  glaze,  settling  into  deep- 
est brown  inside.     Mihako  yaki  (imp.). 

4834*.     Tea- JAR.    H.  3^  in.    Light  reddish-brown  clay,  thick      /g 


reddish-brown  glaze,  finely  mottled.     Nankai  (imp.). 

4836.  Incense-box,    mountains    and    cascade.     W.  2^  in 
Soft  light  pinkish  clay;  light  green,  blue,  and  brown  glazes      4^533        4834 
marking  trees  and  other  features  on  surface.     Ippei  (imp.). 

4837.  Incense-box.     H.  2  in.    Light  brown  clay  and  nearly  white  glaze. 


4836 


Koko  (imp.). 
H.  2\\  in.     Light  fawn  clay,  thin  light  green  glaze.       /Jfjl 


4838.    Tea-jar,  square. 
Yamanoi  (imp.). 

4840*.     Wine-bottle,  double  gourd-shaped.      H.  6  in.     Light  brown   clay, 
brown  glaze  clouded,  irregular  splashes  of  yellowish  overglaze.     Kin  (imp.). 
Gift  of  W.  S.  Bigelow. 

4843.     Bottle,  with  globose  body,  narrow  opening,  broad  base.     H.  4I  in. 
brown  clay,  thick  deep  green  glaze.      Impressions  of  radi- 
ating figures  around  body. 
Motte  Antozan  no  tsuchi  Rinzan 
kore  wo  tsukuru  (inc.). 

4844-     Figure    of    mythological      V^SK 
lion.     H.  i\  in.     Fine  light  fawn      '      ■*' 
clay,  thick  golden-yellow  glaze. 
Koromogawa  (imp.). 

4845*-     Bowl.     D.  3I  in.     Thick  and  heavy 

maroon   glaze,   richly   mottled   with   darker   spots   merging 

into  black.     Gen  (imp.). 

4846  .  Flower -VASE,  in  form  of  makimono. 
H.  9f  in.  Fine  light  yellow  and  fawn  clay,  show- 
ing graining  under  transparent  glaze.  (Resembles 
No.  555.)    /—  (imp.).  ^3^^  ^3^3 

4847  •    Square  bowl.    D.  6J  in.    Figure  modeled 

on  side.     Fine  light  gray  clay,  light  gray  glaze,  dragon  in  deep  brown.     Shbzen  (imp.). 
Gift  of  Baldwin  Coolidge. 


ill 


4837       4838 


CASE    39 


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DOUBTFUL  AND   UNKNOWN 


ETHNOLOGICAL 


il^ 


4849.  Covered  cake-dish.  D.  7J  in.  Nearly  white  clay.  Inside  and  base,  clear  light 
gray  glaze.  Outside,  chrysanthemums  in  high  relief  with  thick  white  glaze,  centres  gilded. 
Intermediate  spaces  smooth  black  lacquer.     Hiakusuke  (imp.). 

4850  .    Jar.     H.  4  in.    Soft  light  clay,  light  gray  surface  with  bamboo  and  poem  in  lighter 
color  unglazed.     Kisen  (imp.). 
Gift  of  Rufus  E.  Moore. 

4851.  Bowl,  with  blunt  support.  D.  4J  in.  Light  gray  clay,  white  glaze,  strongly  crackled. 
Basket-work  surface  moulded.     Soniu  (imp.). 

4853*  Sauce-dish,  with  handle  and  spout.  L.  3  in.  Reddish-brown  clay,  deep  salmon 
glaze  outside,  white  glaze  coarsely  crackled  inside.  Inscription  in  white  states  that  the 
piece  is  made  of  clay  from  the  old  battle  ground  at  Yashima. 

4^54-  Tea-pot,  lion  knob  on  cover.  D.  3  in.  Light  fawn  clay  with  light  reddish  areas, 
tangle  of  yellow  thread-like  glaze.     Takamitsu  (imp.). 

4855  •  Plate,  for  lantern.  D.  7J  in.  Fine  light  red- 
dish-brown clay,  gieen  glaze.     Fukuji  (imp.). 

4859  •  Plate.  D.  yf  in.  Coarse  light  brown  clay,  thick 
deepest  brown  glaze  with  splashes  of  running  fawn  over- 
glaze.     Kichibei  (imp.). 

It  has  no  relation  to  the  old  Kyoto  Kichibei. 

4860.     Square  tray.     W.  6  in.     Brown  clay  and  glaze. 

Bat  inside  moulded.     Cloth-mark  impression  on  bottom.     Gocho  (imp.). 

4861*.  Incense-box,  form  of  folded  cloth.  L.  3^  in.  Whitish  clay,  yellowish  glaze  inside, 
thick  deep  blue  glaze  outside.    Hachiyei  (imp.). 


-k 


m 


4859 


4860 


i860 


ETHNOLOGICAL 

Under  two  hundred  and  eighteen  catalogued  numbers,  from  4863  to 
5081,  are  included  objects  brought  together  to  illustrate  the  various  uses  to 
which  pottery  is  applied.     A  brief  allusion  to  these  uses  has  already  been 
made  in  the  Introduction.     Among  these  are  a  number  of  unde- 
termined objects.     No.  4879  (Case  39)  is  a  vessel  for  steaming  rice,      -^l^ 
bearing  the    impressed    mark  Kiraku.      This  may  be   Kiraku  of 
Kyoto.     No.  5006*  is  a  long  tobacco  pipe,  bearing  the  impressed       ^5 
mark  Kinko,  and  probably  representing  the  work  of  some  T5kyo       5006 
potter. 


,f 


352 


THE   CATALOGUE 


RECENT  ACCESSIONS 


Many  objects  have  been  added  by  gift  and  purchase  during  the  final 
preparation  of  the  catalogue,  and  after  the  photogravure  plates  of  the  cases 
were  made,  and  consequently  too  late  to  insert  in  their  proper  places.  As 
some  of  these  objects  are  of  great  rarity  and  importance  a  continuous  cata- 
logue for  convenience  of  reference  has  been  made.  These  objects,  unless 
otherwise  indicated,  are  installed  in  Case  40. 


1 


5085 


PROVINCE   OF   BIZEN 

5085*.   Wine-bottle.     H.  7^  in.     Cho  (imp.). 

5086.    Wine-bottle.     H.  8^  in. 

PROVINCE   OF   BUZEN 
5090.    Tea-jar. 

HOSHO 

5091*.     Hanging  flower-vase.     H.  7J  in.     This  object  is  interesting  in  having  the  thick 
gray  glaze  with  light  brown  areas  seen  in  certain  forms  of  Agano. 
Moku  and  spiral  line  (imp.). 

5096*.  Flower-vase.  H.  13  J  in.  Coarse  gray  brown  clay,  thick  white  glaze  with  coarse 
ramifying  crackle,  light  robin's-egg  blue  overglaze.  This  object  is  of  great  interest  as  prov- 
ing the  correctness  of  attributing  this  pottery  to  Buzen.  By  an  accident  of  the  furnace  two 
typical  Agano  bowls  have  tumbled  upon  the  top  of  the  vase,  and  have  been  cemented  to  it 
by  the  blue  overglaze.  These  bowls  in  clay  and  glaze  are  identical  with  the  Ninagawa  type, 
No.  1460.  Ho  and  spiral  line  (imp.). 
Gift  of  Thomas  E.  Waggaman. 

PROVINCE  OF  CHIKUZEN 
TAKATORI 

5098*.     Flower-vase,  two  mice  moulded  as  handles.     H.  gf  in.    Ki  (inc.). 

This  object  has  the  incised  mark  Ki,  and  is  interesting  as  having  the  dark  lustrous 
yellowish  glaze  seen  on  certain  Takatori  jars. 

5099.     Jar.     H.  i\  in. 

5100*.     Square  trav.    Ki  (imp.). 

PROVINCE    OF   HARIMA 

hOyen 

5103.    Incense-box.    Maiko  and  Hoyen  (imp.). 

This  piece  in  form  and  technique  is  identical  with  a  Maiko  piece  (No.  1786). 


RECENT  ACCESSIONS  353 

ASAGIRI 

5104.     Rest  for  wine-cup.     W.  3J  in.     Asagiri  (imp.). 

PROVINCE   OF   HIGO 

5106.     Bowl,  irregular.     D.  6  in.     Fine  reddish  clay,  warm  gray  glaze,  thick  whitish  over- 
glaze.     Crane  and  cloud  in  white  and  black  Mishima.     Inside,  stars,  scrolls,  etc. 

This  object  was  identified  by  Ninagawa  as  Korean.  An  examination  of  a  rather  exten- 
sive collection  of  Korean  pottery  lately  acquired  by  this  Museum  does  not  sustain  Ninagawa's 
identification. 

5108.     Tea-pot.     D.  3  in.     Higo  and  Yatsushiro  (imp.). 
This  is  typical  Koda  of  recent  years. 

PROVINCE   OF   HIZEN 

KARATSU 

51 10.     Tea-jar. 

5II4-    Plate,  Mishima  decoration. 

5115*.     Bottle. 

Gift  of  Charles  G.  Weld. 

UTSUTSUGAWA 
51 16.    Bowl. 

IMARI  (?) 

5II7"    Plate.     D.  12-f^  in.    Light  clay,  white  glaze  deeply  stained.    Landscape  and  border 
roughly  sketched  in  blue. 
Gift  of  Denman  W.  Ross. 

PROVINCE   OF   IZUMO 

FUJINA 

5120.     Bowl.      D.  4J  in.      Fine  light  clay,  thick  grayish-yellow  glaze   coarsely  crackled. 
Over-decoration  of  flowers  in  various  colored  enamels  and  gold.     Unyei  (imp.). 

FUMAI 

In  the  latter  end  of  the  last  century  an  oven  was  established  by  the  Duke  of  Dewa, 
who  was  commonly  known  as  Fumai.  Whether  he  actually  worked  at  the  potter's 
wheel  is  uncertain.     It  is  possible  he  may  have  signed  some  of  the  essays  of  the  oven. 

5121*.  Pan.  D.  11}  in.  Yellowish  clay.  Base  and  halfway  up,  which  is  overhanging 
and  slightly  curved,  dull  greenish  glaze.  A  circle  of  dark  green  glaze  just 
within  the  basal  ring.  Side  and  interior  deep  rust-colored  glaze.  From  centre 
inside  are  successive  rings  like  a  target,  the  centre  iron-rust  glaze,  then  a  circle 
of  light  grayish-yellow  glaze  crackled,  then  irtjn-rust  glaze,  the  last  ring  being 
mottled  green  glaze.     Around  vertical  portion  outside  deeply  carved  scrolls.  S'2i 

Fumai  (imp.).  1790 

Gift  of  Denman  W.  Ross. 


354  '^HE   CATALOGUE 

PROVINCE   OF   IZUMI 

5122.  Water-holder  for  ink-stone.  , 

5123.  Bottle,  gourd-shaped.    Kitani  (imp.). 

5124.  Tea-jar.    Akagi  {^va^^. 

PROVINCE   OF   IGA  * 

TOSENZAN  Jj    0* 

e  J27.    Covered  cake-dish.    D.  8^  in.     Nearly  white  clay,  transparent  under-  '3  * 

glaze,  light  greenish-yellow  overglaze.     Decoration  of  pine  in  brown  and  bright  '^  * 
green.     Iga  (imp.).     Tosenzan  (written  in  red).  S^ 

5130.     Cup.  ^ 

S127 
PROVINCE   OF   ISE 

BANKO 

5132.    Cake-plate.    Banko  (imp.). 

5133-     Bottle.     Banko  (imp.). 

Gift  of  W.  S.  Bigelow. 
5135-     Dish.     Banko  (imp.). 
5 1 36'     Bottle.     Yusetsu  (imp.). 

Gift  of  Miss  Lucy  Ellis. 
5138.     Deep  cup.     Akogi  (imp.). 
5139-     Bottle.    Isawa  (imp.). 

PROVINCE   OF   IWAKI 

SEIJIYEMON 

5142.     Bottle,  pyriform,  looped  handles.     H.  6|  in.     Light  fawn  clay  and  glaze  finely 
crackled  ;  splashes  of  thick  white  overglaze  coarsely  crackled, 
Sei,  in  circle  within  square  (imp.).     (See  4189.) 
Gift  of  W.  S.  Bigelow. 

OHORI  SOMA 

5144.  Bowl. 

5145.  Bowl. 

Gift  of  W.  S.  Bigelow. 

PROVINCE   OF   KAGA 
KUTANI 

5150.     Plate.     D.  ii^in. 
Th^s  is  typical  red  Kutani. 
Gift  of  Miss  S.  Minns. 


RECENT  ACCESSIONS  355 

5152.    Incense-stick  burner. 


PROVINCE   OF  KII 

MEPPOTANI 

5158.     Dish.     D.  s|  in.     Fine  light  brown  clay,  grayish  glaze.     Stars  and 
coarse  lines  incised  and  impressed  in  white  Mishima.    Zuishi  (imp.). 

A  type  of  Meppotani  not  shown  in  main  collection. 
5^59*'     Covered  jar,  pine  cone  for  handle.     H.  2\  in.     White  clay,  light 
blue  glaze.     Pine  trees  in  black.     Yo  sho  (written). 


4 


i 


S«S9 
PROVINCE   OF   MUSASHI 

RAKURAKUYEN 

5163.  Tea-bowl.     D.  5  in.     Thick  and  heavy.     Light  yellowish-gray  clay,  thick  white 
Shino  glaze. 

This  is  signed  with  the  square  mark  of  Rakurakuyen  set.     (See  No.  4074.) 

5164.  Tea-bowl.     D.  4  in.     Masaki  (imp.). 
Identical  with  No.  4073. 

Gift  of  Denman  W.  Ross. 

NIHEI 

5165*.    Tea-jar.    H.  3J  in.    Soft  yellowish  clay.    Vertical  bands  of  green,  brown,  blue, 
fawn,  yellow,  and  white  glazes  bordered  with  red.     Ni,  in  panel  (imp.). 

Said  to  have  been  made  by  a  pupil  of  Kenzan. 

Gift  of  Rufus  E.  Moore. 


5165 


HANSHICHI 

5166.  Box.     Two  shells.     L.  5  J  in.     Hanshichi  Itnado  Hamaguri  (written). 

5167.  Tea-bowl.     Shirai  Hanshichi  (imp.). 

TOKUZAN 

5168.  Tea-jar. 

TAMAGAWA 

5170*.     Squat  jar.     Tamagawa  sai  (imp.). 

PROVINCE   OF   NAGATO 

5172.    Jar.    a  kakihan  incised. 
5175.    Cup. 

S172 
PROVINCE   OF   OMI 

BAIRIN 

5179.     Flower-vase.     H.  6^  in.    Deep  yellow  clay  and  glaze.    Light  brown  overgraze. 


356  THE   CATALOGUE 

MOMPEI 

5182*.     Box,  in  form  of  bivalve  shell  (Corbicula),  hinged,     L.  sJ  in.     Fine 
Shigaraki  clay,  deep  yellow  glaze,  thick  white  glaze  about  umbones.     Three 
spiral  shells  for  supports  and  a  small  bivalve  shell  for  knob  on  top. 
Seki  shotei  Mompei  (inc.). 

This  was  made  by  Mompei  at  the  suggestion  of  Ninagawa,  and  is  a  most 
ungainly  object. 


5182 


PROVINCE  OF  OWARI 

KI  SETO 

5189.     Water-jar.     H.  5J  in. 

A  most  beautiful  example  of  this  pottery. 

FUKE 

5193*.     Incense-box,  two  birds.     L.  2\  in.     Light  fawn  clay,  transparent  underglaze,  dark 
yellowish  Raku  overglaze,  resembling  Ohi.     Hachi  (imp.). 
Interesting  as  bearing  the  rare  mark  Hachi  (see  No.  2727). 


SHUJI 

This  potter  is  said  to  have  been  a  Samurai  and  a 
the  latter  part  of  the  eighteenth  century  he  made 
pieces  for  the  tea-ceremony.  Shuji  was  considered 
by  his  contemporaries  as  ranking  above  them  all 
in  the  excellence  of  his  work,  and  the  two  pieces  in 
the  collection  justly  bear  out  this  estimate. 

5196*.  Shallow  tea-bowl.  D.  sJ  in.  Light  yellow 
clay  and  glaze,  a  few  large  round  spots  in  dark  green 
glaze. 

Shuji  Roku-gatsH  Shofu  no  Koye  and  other  characters 
(inc.).  1800 

5197*"  Furnace  for  tea-pot.  H.  9I  in.  Finest 
light  terra-cotta  clay.  A  poem  delicately  incised  over 
mouth.  Tsuchinoto  u  natsu  no  hi  ShUji  itsujin  kore  wo 
tsukuru  (inc.).  1800 

5198*'  Tea-bowl.  D.  4J  in.  Light  gray  clay,  thick 
white  Shino  glaze  with  pinkish  fawn  tinge  outside.  Rude 
under-decoration  in  dark  gray.     ShOji  (inc.).  1800 

SUIKOTEI 

5199  •  Hanging  flower-holder,  boat-shaped.  L. 
7f  in.  Light  gray  clay,  thick  glossy  brown  glaze 
mottled.     Suikotei  tsukuru  (inc.).  1830 


most  devoted  lover  of  pottery.    In 


^      -^  *■ 


^ 


5197 


4^ 


5198 


5199 


1 )  f 


RECENT  ACCESSIONS  357 

TAKADA 

5200  .     Dish,  bird-shaped.     D.  4  in.     Moulded.     Light  brown  clay,  reddish-brown  glaze. 
Takada  (imp.).  1850 

GONBEI  \M\ 

5201  .     Bowl.     D.  5  in.     Thick  walls,  yellowish  -  gray  clay,  dark  brown  glaze.      I®l 
Double  row  of  finger  impressions.     Deep  spiral  on  base.     Se  Gon  (imp.).  ^^oo 

Said  to  have  been  made  by  Gonbei  of  Seto. 

SOBOKAI 

5202.     Jar,  four  looped  handles.     H.  9I  in.     Fine  yellowish-fawn  clay,  light  brown  under- 
glaze,  brilliant  splashes  of  rich  brown  and  goldenrbrown  overglaze.     Sobokai  (inc.).  1780 

A  fine  example  of  this  work. 

SHUNZAN 

5204.  Squat  bottle.      D.  45  in.     Light  fawn  clay  and  glaze,  thick  white  overglaze  run- 
ning  nearly  to  base.     Shunzan  (imp.).  1770 

SHUNTAN  (Case  24) 

5205.  Cup-rest,  rim  scalloped,      D.  d^^  in.      Fine  gray-drab   clay,  light  greenish-yellow 
glaze.     Shunzan  (imp.).  1780 

5206.  Wine-holder,  bail  handle.     H.  6  in.     Light  brown  clay,  yellowish-white  glaze,  thick 
bottle-green  overglaze  running.     Net,  scrolls,  etc.,  in  brown. 
Shuntan  (written).  1780 


SHUNRIN  (Case  24) 

5207.  Vessel,  for  rinsings.  D.  5  in.  Gray-drab  clay,  brown  glaze, 
rich  brown  and  bluish  overglaze  running  in  streams.  Around  rim  golden- 
brown  and  yellow  glaze  showing.     Shunrin  (imp.).  1830 


SHUN-U  (Case  24)  5206 

5208.  Leaf-shaped  dish.      L.  7§  in.     Yellowish-clay,  thick  glossy  green  glaze. 
Shun-u  (imp.).  1790 

Gift  of  W.  S.  Bigelow. 

SHUNKYO 

5209.  Deep  bowl,  vertical  sides  strongly  grooved  by  hithe  marks,  modeled  figure  on  rim. 
D.  4J  in.     Light  brown  clay,  pale  yellow  underglaze,  transparent  green 

overglaze.     Shunkyo  (imp.). 


SHUNBAI  ,„_ 

5210.  Jar.     H.  5 J  in.     Light  brown  clay,  deepest  brown  glaze;  four 
large  splashes  of  white  glaze  streaked  with  blue.     Shunbai  (imp.).  5209  5210 

SHUNTAI  (Case  24) 

521 1.  Cake-dish.    D.  s|  in.    ,S/i««to' (imp.). 
Gift  of  W.  S.  Bigelow. 


3s8  THE   CATALOGUE 

5212.  Deep  bowl,  flattened  on  sides,  square  basal  support.    D.  6|  in.    Coarse  light  brown 
clay,  thick  white  Shino  glaze  coarsely  crackled.     Shuntai  and  Koki  (imp,). 

Gift  of  W.  S.  Bigelow. 

5213.  Haisen.     H.  4|  in.     Shuntai  (imp.). 

5214.  Tea-bowl.     D.  3J  in.    Shuntai  and  Koki  (imp.). 

SHUNKA  (Case  24) 

5215.  Cake-dish,  incurved  rim.     D.  s|  in.    Light  reddish-brown  clay,  transparent  glaze, 
purplish-brown  overglaze.     Inside,  light  gray  glaze.     Plum  tree  in  brown,  flowers  in      /to- 
white  enamel  touched  with  green.     Shunka  (imp.).  Recent     Wp/ 

SHINO  (Case  24)  ^^'^ 

5216*.     Incense-box.     D.  2  in.     Light  brown  clay,  light  warm  gray  glaze,  radiating  and 
circular  zigzag  lines  in  deepest  brown.    Kyit  (imp.). 

5217-  Water-jar,  pottery  cover,  looped  handles,  rim  hexagonal.  H.  6f  in. 
Grayish-drab  clay,  light  fawn  glaze,  splash  of  dark  brown  overglaze.  Cloud 
lines  deeply  incised.  1700 

KAYEMON  5216 

5218.  Chess-board.    W.  13  in.     Shino  clay  and  glaze.     Carved  wooden  legs  covered  with 
red  lacquer.     Kayemon  (inc.).  1650 

MASAKI 

5219.  Flower-holder.     H.  4J  in.     Fine  brown  clay,  Shino  glaze.     Broom 
in  brown.    Masaki  (imp.). 

SAKUSUKE 

5221   .    Beaker.      D.  6  in.     Light  brown  clay,  pale  yellow  glaze,  large 

splashes  of  dark  green  overglaze.    Network  and  leaves  in  black. 

Sakusuke  sei  (imp.).  Recent 

SHIGEMASA 

Kato  Shigemasa  lived  in  Seto  from  1760  to  1809. 

5222*.  Water-holder  for  ink-stone,  Hotel  with  bag.  L.  5J  in.  Hard 
light  gray  glaze,  brown  Seto  glaze  with  golden-brown  splashes.  Figure  of 
Hotel  unglazed.     Shigemasa  (inc.).  1800 

SETO  >—     » 

5223.     Well-wheel,  with   iron    support.      D.  13  in.      Light   clay,    trans-  \    // 
parent  underglaze,  areas  of  thin  green  overglaze.     Scrolls  and  flowers  deeply  L.  ■* 

incised  around  rim.  1750  S"* 

Gift  of  S,  Bing. 


RECENT  ACCESSIONS  359 

SHINKAIZAN 

5224*.  Heavy  jar,  small  aperture,  no  neck.  H.  8J  in.  Hard  stone  clay,  rich  brown 
underglaze  with  lustrous  transparent  blue  overglaze,  flecked  and  running  over  entire  surface, 
Shinkaizan  (imp.). 

Gift  of  Shigejiro  Yamanaka. 

INUYAMA 

5227*.  Bowl.  D.  3{  in.  Dull  brown  clay,  greenish-white  glaze  with  light  brown  streams 
running.     Inuyama  (imp.). 

A  very  curious  type  and  mark  of  Inuyama.  Jt 

SUISETSU  (Case  24)  ds 

5227 
5229.     Tea-pot.     D.  6  in.     Yellowish-white  clay 

and  glaze.    Jewels  and  splash  in  green  on  cover. 

Handle  and  large  area  on  body  in  green.     Fuji  in  green 

with  peak  in  thick  white  slip.     Suisetsu  (imp.). 

Gift  of  W.  S.  Bigelow. 

YEIROKU 

5231*.    Jar.     H.  6J  in.    Light  fawn  clay,  dull  yellowish 

glaze  with  irregular  brown  areas. 

Yeiroku  san-nen  Kiku-getsu  tsukuru  (inc.).  Recent 

FUZO  (Case  24) 


5231 


\ 


5232.    Dish,  in  form  of  shell  (haliotis).    L.  1^  in.     Fawn  clay.    Outside, 
unglazed.     Inside,  white  glaze,  with  fishes  and  leaves  in  blue. 
Fuzo  tsukuru  (written). 

SASASHIMA  (Case  24) 

5233-     Bowl.     D.  s|  in.     Sasashima  (imp.).  \jLm    ^ 

TOKONAME  ^^^^ 

5236.    Comfit-bottle.     H.  3J  in.     Reddish-brown  clay,  transparent  glaze.  5232 

Rosettes  in  relief.     Shuku-o  tsukuru  (inc.). 

5239*-    Wine-bottle,  flaring  mouth.     H.  5I  in.     Fine  light  fawn  clay  unglazed.      fi? 
Choko  (imp.).  1^ 

PROVINCE  OF  SETTSU  5239 

SHOSAI 

5242*.    Fire-vessel,  octagonal.     D.  4I  in.     Soft  clay,  black  lacquer  surface.    Incised 
lines,  panels,  etc.,  gilded.     Shosai  (inc.). 

This  piece  has  also  been  identified  as  Imado. 


36o  THE   CATALOGUE 

PROVINCE   OF   SANUKI 

INARIYAMA 

5243  •  Fire-bowl,  lotus  petals  modeled  and  applied.  D.  7§  in.  Pale  yellow  clay,  green 
glaze.     Taka  (imp.). 

A  remarkable  piece  of  work. 

Gift  of  W.  S.  Bigelow. 

5244.  Fire-bowl,  perforated  metal  top.  H.  3I  in.  Very  light  fawn  clay,  light  fawn  glaze 
strongly  crackled.  Over-decoration  of  lotus  in  green  and  blue  enamel  with  red  blossoms. 
Taka  (imp.). 

YOHACHI 

5245.  Incense-burner,  thick  walls,  roughly  made.     D.  3J  in.     Soft  yellowish  clay,  trans- 
parent underglaze.     Below,  dark  green  overglaze.     Above,  light  reddish  glaze. 
Ornamental  diaper  around  body  incised  with  alternate  bands  glazed  green  and       %     ^ 
light  red.     Yohachi  (ym^.^.     Bunsei  nensei  (y/ntten  on  side).  1818-1827       ^   *^^ 

This  specimen  is  signed  with  a  very  rare  mark  of  Yohachi.      (See  No.  2128.)      ^'f  t% 

MINZAN  5245 

5246.  Dish.     D.  5^  in.     Similar  to  jar,  No.  2106. 
YASHIMA 

5247.  Large  box,  bird.  L.  7  in.  Nearly  white  clay,  warm  gray  glaze,  tail-feather,  bill, 
and  eyes  in  bright  blue.     Inside,  white  glaze  coarsely  crackled.     Yashima  (written). 

5248.  Paper-weight,  sacred  tortoise,  with  small  turtle  on  back.  L.  5  j  in.  White  clay, 
bright  yellow  glaze.      Yashima  Rinso  hachi-ju-hachi  5  saku  (written). 

Gift  of  W.  S.  Bigelow. 

NAOHACHI 

5249.  Cylindrical  flower-vase.  H.  ii  in.  Yellowish  clay,  transparent  underglaze. 
Flowers  and  leaves  outlined  in  white  slip,  leaves  dead  orange-yellow  glaze,  stems  purple, 
flowers  white,  ground  thick  dark  green  glaze.     Naohachi  (imp.). 

This  object  is  simply  hideous.     The  work,  however,  is  rare. 

SHIDO 

5251.     Plate.     D.  5J  in.     Min  (imp.). 

PROVINCE   OF   TAMBA 

NAOSAKU 

5254,  5255-     Wine-bottles.    Naosaku  (imp.). 


RECENT  ACCESSIONS 


361 


TAMBA? 


5256*.     Hanging  flower-holder,  gourd-shaped.     H.  6J  in.    Light  fawn  clay,  deep  brown 
glaze,  comb-lines  on  surface.     Strongly  turned,  roughly  made.     Zuisei(i)  and  kakihan  (inc.). 


PROVINCE  OF  TSUSHIMA 

RITEI 

5257*    Incense- BOX,  shape  of  top.     D.  2^  in. 
Fine  light  salmon  clay  and  glaze.     Apex  light 
brown  glaze  followed   by   encircling   area  of 
greenish-blue  glaze. 
Chosen  Ritei  Uukuru  (written). 


PROVINCE  OF  YAMATO 

AKAHADA 

5261.     Plate.     D.  5f  in.     Akahada  (imp.). 

5263.     Plate.     D.  3i  in. 


.  ^ 


^ 


5257 


PROVINCE  OF  YAMASHIRO 

TAKAGAMINE 

5268.     Tea-jar.     H.  3^^  in.     Coarse  light  fawn  clay,  no  underglaze ;  thick  light  yellowish- 


fawn  glaze  on  shoulder  running  down  in  stream  on  side.     Kuchu  (inc.). 
Gift  of  W.  S.  Bigelow. 


1630 


GOBOSATSU 

5270.  Cake-dish,  fluted.    D.  5^  in.     Gobosatsu  (imp.). 
Gift  of  Baldwin  Coolidge. 

RAKUTOZAN 

5271.  Wine-cup.     D.  2^  in-    Rakutozan  (imp.). 

TAIZAN 

5272*.    Pillow-rest.     L.  ioJ  in.     Light  reddish-fawn  clay,  gray  glaze.     Formal  waves  in 


white  slip.     Awata  Taizan  (imp.). 


1840 


HOZAN 

5273-  Fire-vessel,  fluted.    D.  44  in.    Grayish-white  clay,  pale  bluish-green  glaze. 
Hozan  (imp.). 

5274-  Jar.     H.  3^  in.     Hozan  (imp.). 

5275-  Still.     H.  13]^  in.    Warm  gray  clay,  light  brown  glaze  with  flowers  in  white  slip. 

Hozan  (imp.). 


5272 


362  THE  CATALOGUE 

KINKOZAN 

5277-     Bowl.     D.  4^  in.     Light  brownish  clay,  grayish-brown  glaze.     Outside,  one  half 
covered  with  white  glaze  with  chrysanthemums  in  brown  and  light  blue.     Inside,  yellowish- 
white  glaze  strongly  crackled.     Kinkozan  (imp.). 
Gift  of  W.  S.  Bigelow. 

IWAKURAYAMA 

5278.    Wine-bottle.     H.  7f  in.     Light  Awata  clay  and  glaze.     Vine  in  brown  and  blue. 

Iwakurayama  (imp.). 

SAHBI 

5280*.  Round  box.  D.  i-^^  in.  Fine  light  fawn  clay,  light  gray  glaze  coarsely  crackled. 
Over-decoration  in  red  consisting  of  band  about  rim  of  zigzag  lines  with  interspaces 

filled  with  hatched  lines.      Same  design  around  cover.      In  centre  of  cover  comb  jffl(| 

designs  and  circles.     Magnolia  flowers  and  stem  in  brown  with  green  enamel  leaves  j{^ 

outlined  in  black.     Poem  in  red.     Base  with  fine  radiating  lines.     Sahei  (imp.).  \^ 

This  beautiful  specimen  may  be  the  work  of  the  first  Zoroku.  S^iio 

Gift  of  Mrs.  Helen  Abbott  Michael. 

DOHACHI 

5283.  Cup.     D.  2^  in.     Dohachi  tsukuru  (written). 

5284.  Large  bowl.  D.  6J  in.  Gray-drab  clay,  gray  glaze.  Over-decoration  of  maple 
leaves  and  plum  blossoms  in  red,  bluish-green,  light  green  and  brown,  outlined  in  black. 
Plum  blossoms  in  white  slip.     Omuroyama  Shi  Saku  and  Dohachi  (imp.).  179° 

For  mark  see  No.  3431. 

5286.  Dish,  in  form  of  triton  shell.     L.  \o\  in.  Unsigned 

5287.  Shallow  bowl.    D.  7J  in.    Dohachi,  in  shell  (imp.). 

5288.  Tea-cup.    D.  3f  in.    Dohachi  (imp.). 

KITEI 

5290.  Shallow  bowl.    D.  1%  in.    Identical  in  clay  and  glaze  to  No.  5287.    Kitei  (imp.). 

SHUHEI 

5292.    Wine-bottle.     H.  6J  in.     ShUha  (imp.). 

5294.  Tea-pot.  D.  3  in.  Light  yellow  clay,  transparent  underglaze,  deep  green  overglaze. 
Chrysanthemums  incised.     Shuhei  tsukuru  (imp,). 

YOSOBEI 

5295.  Bowl,  on  three  short  legs.     D.  4I  in.     Yoso  (imp.). 
KYURAKU 

5297-     Deep  bowl.     D.  3J  in.    Black  Raku  glaze.    KyUraku  (imp.). 
Gift  of  W.  S.  Bigelow. 


RECENT  ACCESSIONS  363 

SOSHIRO 

5298.  Fire-vessel.  D.  gi  in.  Finest  terra-cotta  clay,  unglazed  surface  with  green  stain. 
Around  body  broad  band  deeply  carved  in  scrolls.  Above  and  below  this  band  narrow 
ornamental  bands  impressed.     Tenka  ichi  Sdshiro  (\vd.t^.).  1640 

Gift  of  Charles  L.  Freer. 

CHIKUSO 

5300*.  Bowl.  D.  5  in.  Pale  yellowish  clay,  pinkish-yellow  glaze.  Thick  white  glaze 
running  in  drops  from  rim.     Young  dogs  in  black  and  brown.     Chikuso  (imp.)  Recent 

SEINIU 

5301*.     Box,  for  toothpick.     L.  2^f  in.     Seiniu  (imp.).     (See  No.  3729.) 

ZENSHIRO 

5303*.  Water-jar,  globular  with  handle  and  spout.  H.  6  in.  Fine  fawn  clay  with  reddish 
tinges,  lighter  fawn  glaze.  Over-decoration  of  leaves  and  flowers  in  light  and  dark  green, 
yellow  and  maroon  enamels.     Omuro  (imp.).     (See  No.  3892.) 

A  most  interesting  piece,  departing  widely  from  the  two  objects  already  catalogued 
(Nos.  3892,  3893). 

Gift  of  Denman  W.  Ross. 


KIYOMIZU 

5306.     Incense-box,  bamboo  shoot.    L.  4^  in.    Kiyomizu  (imp.). 

5307-     Flower-vase.     H.  6|  in.     Unsigned. 


4) 


SHOHEI  ,^1^ 

5308*.    Tea-cup.     D.  2^^  in.     Porcelain  clay  and  glaze.     Shells  in  blue.  ^,3 

5/4 J/5«  (written).  i860  "^"^w^^ 

5309*.    Tea-cup.     D.  2^  in.     Hard  white  clay,  thick  white  glaze.     Paulonia  ^* 

leaves  impressed.    Surface  indented  by  finger-marks.     ?  (imp.).  i860 


KENZAN 

531 1.     Oval  dish.     L.  6f  in.    Kenzan  (written). 

MARUOKA 

53^2*.     Mask.    L.  8J  in.    Maruoka  Sukenobu  isukum  (inc.).  ^^°^ 

KENTEI 

53^3-     Cake-dish.     D.  5  in.    Salmon-colored  clay  and  glaze  with  vine  in 
black.     Ken  (imp.). 

OKAZAKI 


5314*    Jar.     H.  3J  in.    Pale  salmon  clay  and  glaze, 
splashes  of  thick  white  overglaze.     Kaguraoka  (imp.). 

A  peculiar  example  of  this  work.  5313  5314  5312 


364  THE  CATALOGUE 

ASAHI 

5315.    Tea-pot.     D.  3I  in.    Asahi  (imp.). 

5317.  Bowl.     D.  5J  in.    .4jaA«  (imp.). 
Gift  of  W.  S.  Bigelow. 

KOSAI 

5318.  Fire-vessel.     D.  6}  in.     Coarse  light  fawn  clay,  large  area  of  deep  brown  glaze, 
unglazed  area  with  netting  of  white  glaze.     Inside,  thick  whitish  glaze.    Kosai  (imp.). 

Gift  of  W.  S.  Bigelow. 

KOSUIZAN 

5319*.    Bowl,  flattened  on  sides.     D.  4^  in.     Fawn  clay,  thick  white  glaze.     Rude  scrolls, 
etc.,  in  blue.     Kosuizan  (imp.).  j^a^ 

SHO-U  •^ 

5320*.     Small  cup.     D.  2  in.     SAo-u  (imp.).  Recent       5319 

NINRAKU 

5321  .    Jar,  sides  cut  in  imbricated  leaves.     H.  4f  in.    Green  glaze.    Ninraku  (imp.). 
Gift  of  Charles  G.  Weld. 

KYOTO  Iv4»> 

5324-     Figure.     H.  9  in.     Mark  impressed  has  been  read  Sozan,  Kazan,  and       ^^^ 
Tiaizan.  5324 


CASE    40 


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5-313        yioy     vzis      s-zgy     s-zso       ^^67 


RECENT  ACCESSIONS 


FINAL   NOTES  . 

Collectors  of  Japanese  pottery  may  in  many  cases  identify  their  pieces  by  first 
having  the  signatures  translated ;  and  if  this  collection  contains  a  similar  example,  a 
reference  to  the  index  of  marks  at  the  end  of  the  volume  will  give  the  desired  infor- 
mation. 

The  collection  will  certainly  provide  a  mine  for  the  student  of  Japanese  pottery. 
Some  objects  of  doubtful  attribution  or  of  unknown  provenance  are  still  to  be  identi- 
fied ;  the  unsigned  Awata  pieces  especially  present  material  for  much  study  in  ascrib- 
ing them  correctly  to  their  respective  potters.  This  can  be  done  only  by  a  careful 
comparison  of  clay,  glaze,  decoration,  etc.,  with  signed  pieces.  The  proper  assignment 
of  Kenzans  to  their  respective  families,  and  the  detection  of  fraudulent  Kenzans,  will 
offer  another  field  for  study. 

This  catalogue  is  the  result  of  continuous  labor  for  twenty  years.  No  pains  have 
been  spared  to  secure  accuracy,  yet  with  the  last  page  I  can  only  express  the  regret 
that  I  cannot  rewrite  the  entire  work.  Errors  in  attribution,  in  the  interpretation  of 
signatures,  and  in  the  estimates  of  age  must  inevitably  exist,  and  the  frankest  criticism 
is  solicited.  In  addition,  I  would  ask  for  objects  bearing  marks,  or  representing  the 
essays  of  potters  or  provinces,  or  for  information  of  any  kind  which  will  add  new  mate- 
rial to  the  collection,  as  in  a  few  years  a  supplement  will  be  prepared  to  illustrate 
acquisitions  of  this  nature  as  well  as  to  rectify  errors  which  may  be  contained  in  the 
present  catalogue. 


INDEXES 


INDEX   OF   PROVINCES 


Numbers  refer  to  Pages 


Aki,  162. 
Awa,  339. 
Awaji,  124. 

Bingo,  336. 
Bizen,  49,  352. 
Buzen,  126,  352. 

Chikugo,  no. 
Chikuzen,  164,  343,  352. 

Echigo,  340. 
Echizen,  109,  343. 
Etchu,  340. 

Harima,  149,  343,  352. 
Hidachi,  115. 
Higo,  75,  343,  353. 
Hizen,  36,  344,  353. 
Hoki,  336. 

Iga,  142,  344,  354. 

Inaba,  341. 

Ise,  94,  344,  354. 


Iwaki,  309,  354. 
Iwami,  135. 
Iwashiro,  334. 
lyo,  III,  344. 
Izumi,  129,  354. 
Izumo,  156,  353. 

Kaga,  85,  344,  354. 
Kai,  339. 
Kawachi,  336. 
Kii,  137,  345,  3S5. 
Kozuke,  114. 

Mikawa,  337. 
Mimasaka,  339. 
Mino,  115,  345. 
Musashi,  290,  345,  355. 

Nagato,  81,  355. 

Omi,  66,  345,  355. 

Osumi,  318. 

Owari,  182,  346,  356. 


Rikuzen,  317. 
Rikuoku,  341. 

Sado,  121. 

Sanuki,  170,  346,  360. 
Satsuma,  319. 
Settsu,  61,  346,  359. 
Shimotsuke,  112. 
Shinano,  132. 
Shirabeshi,  341. 
Su5,  117. 
Suruga,  136. 

Tajima,  337. 
Tamba,  178,  347,360. 
Tango,  338. 
Tosa,  58. 
Totomi,  147. 
Tsushima,  56,  361. 

Ugo,  336. 
Uzen,  340. 

Yamashiro,  217,  347,  361. 
Yamato,  105,  361. 


INDEX   OF   POTTERIES 


Adachi,  335. 
Agano,  126. 
Aidsu,  334. 
Aiina,  120. 
Akagi,  142. 
Akahada,  105,  361. 
Akahiko,  46. 
Akasaka,  117. 
Akashi,  150,  221. 
Akatsu  Oribe,  193. 
Akita,  336. 
Akogi,  95. 
Akuto,  341. 
Amakusa,  81. 
Amidayama,  79. 
Anto,  94. 
Ao  (variety),  54. 
Arashiyama,  253. 
Arita,  44. 
Asagiri,  ISO,  353. 
Asahi,  271,  364. 
Asahi-ken,  104. 
Asahimine,  253. 
Asahi  Shunkei,  186. 
Asahitei,  253. 
Asakura,  290. 
Asano,  89. 
Awata,  224. 
Awata  Guchi,  225. 
Awaji  in  general,  125. 

Bairin,  70,  355. 
Baizan,  68. 
Banko,  96,  354. 
Banko,  odd  forms,  104. 
Bashodo,  74. 
Beizan,  66. 
Benjiro,  304. 
Betsukafu,  328. 
Bizan,  230. 
Black  Oribe,  193. 
Black  Seto,  194. 
Black  Shino,  193. 
Bogasaki,  45. 
Bokusai,  133. 
Bukkado,  140. 
Buzen  in  general,  129. 

Chiku-mei,  136. 
Chikuso,  363. 


Numbers  refer  to  Pages 

Chikutei,  254. 

Chinese  Bowls,  187. 

Choiu,  91. 

Chokyu,  285. 

Choniu  (7th  gen.  Raku),  261. 

Chosa,  318. 

Chosen  Karatsu,  39. 

Choson,  290. 

Chozan,  119. 

Chozo,  204. 

Denko,  128. 

Dohachi,  240,  362. 

Doniu  (3d  gen.  Raku),  260. 

Earliest  Glazed  Pottery,  36. 
Early  Glazed  Pottery  (Korean), 

28. 
Early  Historic  Pottery,  35. 
Ebamura,  163. 
Echizen  in  general,  no. 
Enouye  Riosai,  306. 

Fueki  Banko,  loi. 
Fuji,  223. 
Fujimi,  216. 
Fujina,  159.353- 
Fukagawa,  84. 
Fukakusa,  285. 
Fuke,  356. 
Fukui,  no. 
Fukuroyama,  283. 
Fukushima,  335. 
Fumai,  353. 
Fushimi,  286. 
Fiiya,  132. 
Fuzo,  359. 

Gempin,  202. 
Gengen,  265. 
Genjiro,  307. 
Genko,  117. 
Giozan,  230. 
Gobosatsu,  228,  361. 
Gojo,  108. 
Gojosaka,  287. 
Gombei,  157. 
Gonbei,  357. 
Goroshichi,  43. 
Gorosuke,  254. 


Granulated  Karatsu,  42. 
Green  Kutani,  86. 

Hafugama,  186. 

Hagi,  82. 

Hagiyama,  212. 

Hakeme  Karatsu.  41. 

Haku-an  (Ki  Seto),  201. 

Hangaya,  315. 

Hanshichi,  208,  299,  355. 

Hansuke,  104. 

Harima,  222. 

Haritsu,  292. 

Hashidate,  338. 

Hatayeta,  284. 

Heigen,  308. 

Hidasuke  (variety),  54. 

Higo,  75. 

Higo  Celadon,  75. 

Higo  in  general,  81. 

Hira,  73. 

Hirado,  44. 

Hirono,  317. 

Hiroshima,  164. 

Hohei,  206,  324. 

Hoki,  336. 

Hoko,  325. 

Hoju,  322. 

Honobono,  156. 

Hosho,  127,  352. 

Hoyei,  324. 

Hoyen,  151,  352. 

Hoyu,  325. 

Hozan,  226,  361. 

Hozen  (iith  gen.  Zengoro),  274. 

Ichibei,  155. 

Ichigen,  265. 

Ichigo,  212. 

Ichiniu  (4th  gen.  Raku),  261. 

Ichiyemon,  209. 

Ichiyu,  235. 

Iga,  146. 

Igara,  132. 

limuro,  132. 

Ikichiruya,  133. 

Ikko,  205. 

Imado,  308. 

Imari  (?),  353. 

Imbe,  49. 


INDEX  OF  POTTERIES 


37' 


Imbe  with  colored  glazes,  52. 

Imbe,  with  mark  Terami,  52. 

Inariyama,  170,  360. 

Inouye,  107. 

Inuyama,  207,  359. 

Ippodo,  2J2. 

Isaka,  335. 

Isawa,  103. 

Isobe,  114. 

Iwakurayama,  226,  362. 

Izumi,  328. 

Izumi  in  general,  132. 

Izumo  in  general,  161. 

Izushi,  337. 

Jinoka,  no. 

Johachi,  209. 

Joki  (2d  gen.  Raku),  260. 

Joshiro,  286. 

Jozan,  122,  127. 

Kaga,  85. 

Kairaku,  115. 

Kairakuyen,  137. 

Kairakuyen  Raku,  139. 

Kakimayachi,  163. 

Kakitsubata,  338. 

Kamesuke,  282. 

Kameyama,  44,  73. 

Kamioka  Pottery,  33. 

Kanashige,  316. 

Kanaya,  311. 

Kanraku,  266. 

Kanzan,  234. 

Karaku,  308. 

Karatsu,  37,  353. 

Karatsu,  irregular  forms,  42. 

Karatsu  Tea-jars,  42. 

Kasana,  115. 

Kaseizan,  295. 

Kasugayama,  91. 

Kasuke,  103,  236. 

Katei,  255. 

Kawachi,  336. 

Kawakaya,  164. 

Kayemon,  358. 

Keiniu  (nth  gen.  Raku),  264. 

Keizan,  245. 

Kenjo  Karatsu,  41. 

Kentei,  279,  363. 

Kenya,  294. 

Kenzan,  268,  292,  363. 

Kichibei,  235. 

Kichiroku,  113,  303. 

Kichiyemon,  130. 

Kichizayemon  (12th  gen.  Raku), 

264. 
Kiho,  256. 

Kikko,  63,  119,  134,  302. 
Kimbei,  123. 
Kimpeizan,  121. 
Kinchozan,  288. 
Kinkazan,  187. 
Kinko,  307. 
Kinkozan,  229,  362. 


Kinryuzan,  81. 

Kinsei,  255. 

Kintaro,  121. 

Kiraku,  257. 

Kisan,  155. 

Ki  Seto,  200,  201,  356. 

Ki  Seto  (Haku-an),  201. 

Ki  Seto  (Wari-Sakura),  201. 

Kishu,  140. 

Kisui,  248. 

Kitani,  131. 

Kitei,  247,  362. 

Kits,  248. 

Kiyomizu,  232,  363. 

Kochi,  60,  140. 

Kochiiiten,  108. 

Koda,  76. 

Kodzu,  65. 

Kogai,  335. 

Kohei,  60. 

Koishikawa,  307. 

Ko-katatsuki,  339. 

Komaru,  314. 

Komatsu,  234. 

Kondo,  315. 

Korakuyen,  299. 

Korean  Pottery  in  general,  30. 

Korean  Pottery,  Modern,  31. 

Koren,  305. 

Kosai,  256,  364. 

Kosobe,  62. 

Koson,  289. 

Kosuizan,  364. 

Kosuna,  113. 

Koto,  71. 

Koyemon,  284. 

Koyetsu,  217. 

Kozan,  232,  257,  334. 

Kuhei,  280. 

Kujiri,  115. 

Ku-ken,  128. 

Kurihara,  282. 

Kuro,  210. 

Kuromuta,  43. 

Kutani,  85,  354. 

Kutani,  green,  86. 

Kutani  in  general,  88. 

Kutani,  red,  87. 

Kwaisuiyen,  303. 

Kyoto,  364. 

Kyoto  in  general,  258. 

Kyozan,  308. 

Kyuraku,  265,  362. 

Kyuta,  235. 

Kyuzan,  65,  342. 

Maiko,  152. 

Makudsu,  280,  305,  345. 
Makusa,  200. 
Manyemon,  290. 
Marubashira,  142. 
Maruoka,  363. 
Masa,  210. 
Masaki,  211,  358. 
Masakichi,  91. 


Masatomo,  288. 
Matsumoto,  81,  82,  285. 
Matsushiraa,  318. 
Matsuyama,  iii,  309. 
Megakite  (variety),  53. 
Meizan,  339. 
Meppotani,  139,  355. 
Michisuke,  84. 
Mikawa,  337. 
Mikawachi,  49. 
Miki,  281. 
Mimpei,  124. 
Minato,  129. 
Minzan,  174,  360. 
Mishima,  326. 
Mishima  Karatsu,  40. 
Miyajima,  162. 

Miyakawa  Chozo  (loth  gen.  Ma- 
kudsu), 280. 
Mizuno,  296. 
Mokubei,  93,  270. 
Mokuhaku,  107. 
Mompei,  69,  356. 
Mori,  53,  104. 
Mortuary  Pottery,  33. 
Mortuary  Pottery  (Korean),  26. 
Motozo,  209. 
Moyemon,  208. 
Murasakino,  266. 
Mushiage,  55. 

Nagami,  135. 

Nagarayama,  74. 

Nakamura,  313. 

Nakusa,  142. 

Naniwa,  61. 

Naohachi,  177,  360. 

Naosaku,  181,  360. 

Nara,  105. 

Narumi,  194. 

Nayeshiwogawa,  334. 

Ne-u,  102. 

Nihei,  355. 

Nihon  Matsu,  335. 

Niko,  205. 

Ninkei,  344. 

Ninraku,  364. 

Ninsei,  218. 

Nishiki-de  (White  Satsuma),  330. 

Odd  Forms  of  Banko,  104. 

Odo,  59. 

Ofuke,  195. 

Ohi,  90. 

Ohori  Soma,  316,  354. 

Okamura,  254. 

Okayama,  55. 

Okazaki,  265,  337,  363. 

Okiaku,  156. 

Omuro,  278. 

Onko,  116. 

Ono,  92. 

Onohara,  178. 

Oribe,  black,  193. 

Oribe,  red,  192. 


37» 


INDEX  OF  POTTERIES 


Ota,  137,  141. 
Otafuku-an,  282. 
Otakayama,  204. 
Otaru,  341. 
Otowa,  278. 
Otokoyama,  141. 
Otsu,  70. 
Oye,  68. 

Prehistoric  Pottery,  32. 

Raizan,  288. 

Raku,  80,  259. 

Raku  Pottery  in  general,  266. 

Rakurakuyen,  298,  355. 

Rakuto,  225. 

Rakutozan,  231,  361. 

Rakuzan,  158. 

Rantei,  283. 

Red  Kutani,  87. 

Red  Oribe,  192. 

Red  Shino,  192. 

Rendaiji,  89. 

Rengetsu,  281. 

Risoku,  209. 

Ritei,  361. 

Riyoniu  (9th  gen.  Raku),  262. 

Rokubei,  236. 

Rokuzan,  294. 

Rozan,  255. 

Ryozan,  156. 

Ryozen   (loth   gen.  Zengoro), 

273- 
Ryvishi,  150. 

Sada,  232. 

Sado  in  general,  123. 

Sahei,  96,  362. 

Sakamoto,  315. 

Sakigaki,  304. 

Sakurai,  64. 

Sakusuke,  358. 

Sakuyemon,  300. 

Same,  327. 

Sampei,  125. 

Sanda,  66. 

Saniu  (6th  gen.  Raku),  261. 

Sanko,  206. 

Sanrakuyen,  301. 

Sanuki,  177. 

Sasashima,  216,  359. 

Satsuma,  320. 

Satsuma,  White,  329. 

Seifu,  250. 

Seijiyemon,  311,  354. 

Seikanji,  221. 

Seikozan,  327. 

Seiniu,  363. 

Seishi,  305. 

Seiunzan,  257. 

Seizan,  254,  256. 

Sekisen,  117. 

Sekivo,  135. 

Sendai,  317. 

Senka,  114. 


Sen  Baku,  57. 
Seshima,  333. 
Seta,  69. 

Seto,  42,  188,  340,  358. 
Seto,  Black,  194. 
Seto-Kusuri,  325. 
Setosuke,  102,  109,  190. 
Setsuzan,  84. 
Shibata,  48,  340. 
Shibuya,  304. 
Shichibei,  239. 
Shido,  172,  360. 
Shidoro,  147. 
Shiga,  56,  316. 
Shigaraki,  67. 
Shigemasa,  358. 
Shimbei,  208. 
Shimpaku,  209. 
Shinjiro,  146. 
Shinkaizan,  359. 
Shino,  190,  358. 
Shino,  Black,  193. 
Shinomine,  42. 
Shino,  Red,  192. 
Shinshiroyama,  112. 
Shinyemon,  208 
Shirai,  306. 
Shiro  (variety),  55, 
Shiroyama,  48. 
Shizuhata,  136. 
Shodai,  80. 
Shofu,  80. 
Shofudo,  315. 
Shohaku,  48,  58. 
Shohei,  363. 
Shoi,  289. 
Shoka,  163. 
Shoreido,  92. 
Shosai,  66,  359. 
Shotei,  94. 
Shoto,  47. 
Sho-u,  364. 
Shozo,  210. 
Shuhei,  245,  362. 
Shuji,  356. 
Shunbai,  357. 
Shunka,  358. 
Shunkei,  200. 
Shunki,  199. 
Shunkozan,  198. 
Shunkyo,  357. 
Shunrin,  200,  357. 
Shunsai,  257. 
Shunsho,  199. 
Shunsui,  200. 
Shuntai,  198,  357. 
Shuntan,  198,  357. 
Shun-u,  197,  357- 
Shunzan,  170,  197,  357. 
Shuzan,  65,  287. 
Silver  Karatsu,  38. 
Sobaitei,  213. 
Sobiyo,  315. 
Sobokai,  196,  357. 
Soha,  48. 


Sohaku,  289. 

Sohei,  154. 

Sohen,  221. 

Sohin  (6th  gen.  Zengoro),  273. 

S6-i,  289. 

Sokan,  60. 

Soma,  311. 

Song-do  Pottery  (Korean),  29. 

Soniu  (5th  gen.  Raku),  261. 

Sosaburo,  277. 

Sosentei,  89. 

Soshichi,  170. 

Soshiro,  277,  295,  363. 

Soyemon  (?),  209. 

Sozen  (3d  gen.  Zengoro),  273. 

Successors  of  Toshiro,  185. 

Suikotei,  356. 

Suisetsu,  212,  359. 

Suma,  154. 

Sumidagawa,  300. 

Sumizome,  284. 

Sunkoroku,  321. 

Suruga,  137. 

Suwa,  114. 

Suyehiroyama,  112. 

Tachikui,  179. 

Tachino,  333. 

Tada,  117. 

Taiga,  116. 

Tainei,  289,  307. 

Taizan,  228,  361. 

Takada,  357. 

Takagamine,  218,  361. 

Takahara,  61,  291. 

Takamatsu,  177. 

Takato,  134. 

Takatori,  165,  352. 

Tamagaki,  102. 

Tamagawa,  187,  303,  355. 

Tamba  (?),  361. 

Tamba  in  general,  181. 

Tanniu     (loth    gen.     Raku), 

263. 
Tanzan,  231. 
Tashiro,  312. 
Teizan,  297. 
Tobi-Kusuri,  186. 
Tobimura,  112. 
Togentei,  339. 
Tohaku,  205. 
Tokoname,  203,  359. 
Tokubei,  232. 

Tokuniu  (8th  gen.  Raku),  262. 
Tokusai,  145. 
Tokuzan,  29(5,  355. 
Tokuzen  (13th  gen.  Zengoro), 

276. 
Tomikawa,  177. 
Tomita,  173. 
Tomitaro,  123. 
Tomotsu,  336. 
Torakichi,  74. 
Toroku-Ura,  47. 
Tosa,  61,  286. 


Tosai,  213. 

Tosenyen,  302. 

Tosenzan,  354. 

Toshiro,  183. 

Toshiro  (Successors  of),  185. 

Totei,  146,  283. 

Totoken,  154. 

Toyen,  252. 

Toyosuke,  214. 

Tozan,  155. 

Tozen,  204. 

Tsuboya,  321. 

Tsujii  Harima,  222. 

Tsuruga,  no. 

Tsushima  in  general,  57. 

Tsuyen,  251. 

Ubagamochi,  73. 
Udzurayama,  284. 
Ureshino,  48. 
Utsutsugawa,  45,  353. 


INDEX  OF  POTTERIES 

Wafuken,  151. 

Wagen    (12th   gen.    Zengoro), 

275. 
Wakichi,  204. 

Wari-Sakura  (Ki  Seto),  201. 
White  Satsuma,  329. 

Yagami,  45. 
Yaheda,  57. 
Yamada,  223,  314. 
Yamagata,  340. 
Yamagawa,  328. 
Yamahara,  333. 
Yamake,  223. 
Yamamoto,  92. 
Yamato  in  general,  109. 
Yanagawa,  in. 
Yasan,  61. 
Yashima,  175,  360. 
Yedo  Banko,  309. 
Yedogawa,  306. 


Yeiraku,  92,  see  Hozen. 
Yeiroku,  359. 
Yeisen,  235. 
Ye-Karatsu,  39. 
Yenami,  164. 
Yohachi,  176,  360. 
Yokuro,  278. 
Yoshitoyo,  213. 
Yosobei,  245,  362. 
Yotsuya,  307. 
Yoyama,  n6. 
Yukichiruya,  134. 
Yuko,  74. 
Yusetsu,  99. 
Yuzan,  232. 

Zengoro,  272. 
Zenniu,  306. 
Zenshiro,  1 58,  278,  363. 
Zeze,  69. 
Zoroku,  249. 


373 


INDEX   OF   MARKS 


Numbers  refer  to  Catalogue 


Aihi,  3648. 

Akagi,  1525,  1526-1617,  5124. 

Akahada,  1262-1265,  1267-1270,  1277,  1279,  1281, 

1282,  1285,  1287,  1289-1292,  5261. 
Akahada  and  Inouye  sei,  1295. 
Akahada  and  Ki,  1293. 
Akahada  and  Mokuhaku,  1304,  1306-1308. 
Akahada  and  Tsuna,  1266. 

Akahada  yama,  1271-1275,  1278,  1280,  1283,  1286. 
Akahada  yama  and  Mokuhaku,  1300-1303,  1305, 

1310. 
Akasaka,  137 1. 
Akashi,  1759,  3083. 
Akashi  and  Mikuni,  1765. 
Akashi  Ichibei,  1832. 
Akashi  Minato,  1764. 
Akashi-ura,  1760. 
Akaura  and  Kigetsu  an,  1761. 
Akebono,  2605. 
Akihiko,  see  Mikawa. 
Akita,  4524. 

Akogi,  1122-1(24,  5138. 
An,  4618. 
Ansei   san   nen,  Shimotsuke   no  kuni    Nasu-gori 

Kosuna-mura  ni  oite  kore  wo  tsukuru,  1349. 
Anshun  raku  Seki-6,  4745. 
Anto,  1 1 07- 1 120. 
Anyei  go  nen  Naniwa  Shuzan  sei,  mi  tokobashira 

Yoki,  613. 
Ao  Mokubei,  3808,  3809. 
Arashi  Tanemune,  2015. 
Arashiyama,  3567-3569. 
Asa,  534. 

Asagiri,  1 767-1 770,  5104. 
Asagiri  and  Sohei,  1816. 
Asahi,  3815-3835.  5315.  5317- 
Asahi-ken  tsukuru,  1 250. 
Asahimine,  3573,  3574. 
Asahitei,  3570-3572. 
Asakura,  mark  of,  4023. 
Asano,  1063. 

Awata,  3102,  3103,  3106,  3117,3118,  3126. 
Awata  Guchi,  3146. 
Awata  Guchi  Tokubei  tsukuru.     Kayei  ju  kiki 

san-gatsu,  3246. 
Awata  Taizan,  5272. 
Aya  matsu  ga  and  Keizan,  4645. 
Aya  yaki  and  Keizan,  4646. 

Baigetsu-gfa,  1257. 

Baikei  Shujin  kore  wo  tsukuru,  4660. 


Bairaku,  2990. 

Bairin,  745,  748-7S4- 

Baishi,  4672. 

Bai  so  yen  sei,  3292. 

Baitei  kore  wo  tsukuru,  2924. 

Baiyen,  3682. 

Baizan,  708. 

Bakesuke  and  Hachi-ju-ichi  6,  2601. 

Bandai  lyeko  and  Kurihara,  3932. 

Bankeian  and  K6,  3616. 

Banko,  1121,  1127,  1130,  1131,  1133-1135,  1138- 

1147,  1152-1166,  1169-1194,  1240,  5132-5135. 
Banko  and  Gando  [Sanjin?],  1254. 
Banko  and  Hideno,  1245. 
Banko   and   Koyuno   motomeni   ojite.     Kore  wo 

tsukuru,  1 1 36. 
Banko  and  Mine,  1256. 
Banko  and  Nihon  Yusetsu,  1202,  1203. 
Banko  and  Seitoken,  1255. 
Banko  and  Shazan  tsukuru,  1252. 
Banko  and  Shosendo  Giokurin  tsukuru,  4515. 
Banko  and  Yusetsu,  1207. 
Banko  Fueki,  1216-1221,  1224. 
Banko  Fueki  and  Banko,  1225. 
Banko  Fueki  and  Sekitokuyen  sei,  1 239. 
Banko  Senshu,  1 21 5. 
Banko  Yiisetsu,  121 1. 
Ban  Ryozan  no  saku  nari,  1841. 
Banzai  Raku,  759. 
Bashodo,  797. 

Beikoku  and  Hoshina,  4548,  4549. 
Beizan  and  Uji,  620. 
Benjiro,  4133. 
Bizan,  2722,  3230-3234. 
Bogasaki,  344,  346,  351. 
Bogasaki  and  Bo,  340. 
Bogasaki  and  inscription,  341,  348,  350. 
Bokusai  zoi,  Temponen  sei,  1538. 
Bokusui-hen  ni  oite,  4120. 
Bokusui-hen  ni  oite  kore  wo  seisu  and   Kikko, 

41 19. 
Bokusui,  see  Shichi-ju-6,  etc. 
Bokuta  Toko  and  Kikko,  41 1 7. 
Bukkado,  1599. 
Bunji,  2884. 
Bunro,  2607. 
Bunsei  inu-doshi   Geiyo    Takeyama   Shoka  sei, 

Dotei  ga,  1937. 
Bunsei   Jissai.      Inu   ju-ichi-gatsu  and   Soshichi, 

Masaki  Yukihiro,  2060. 
Bunsei   ju-san    Kanoye  tora  shi-gatsu,  ju-bachi 


INDEX  OF  MARKS 


375 


nichi  and  Hoka  shictii-ju-hachi  6  Tokuzan  and 

kakihan,  4068. 
Bunsei  nensei  and  Yohachi,  5245. 
Bunshi,  2599. 
Bunzan,  etc.,  4005. 

Chikuso,  53CX3. 

Chikutei,  3578. 

Cho,  398,  399,  S085.  _ 

Chojiro  and  Giokutei,  4729. 

Choiu,  1088. 

Choko,  5239. 

Choraku,  141 6. 

Choraku  and  Naniwa  Hokuensai  Choraku  tsukuru, 

606. 
Chosen  Ritei  tsukuru,  5257. 
Choshi,  4747. 
Choza,  2857-2860,  2862. 
Chubei,  817. 

Dai  and  Izumo  Wakayama,  1894. 

Daiboku  Jozan  tsukuru,  1428. 

Dai  Nihon  Konan  Yeiraku  Hozen  tsukuru,  3845. 

Dai  Nihon  Yeiraku  tsukuru,  3846. 

Dai  Nippon  Kutani  sei,  1059. 

Dai  Nippon  Tokyo  Enouye  Ryosai,  4145. 

Denko,  148  2- 1484. 

Densho,  2589. 

Dohachi,  3413-3423,  3425,  3426,  3428,  3429,  3433. 

3436-3438.  3452.  3455-3466,  5287,  5288. 
Dohachi  and  Omuro  shi  saku,  5284. 
Dohachi  (not  given)  and  Omuroyama,  3430. 
Dohachi  and  Omuroyama  shi  saku,  3431. 
Dohachi  (not  given)  and  Shohachi,  3434. 
Dohachi  sei,  3427. 
Dohachi  tsukuru,  3424,  5283. 
Doko,  4736. 
Domi,  see  Asakura. 

Eio,  4534. 

Ei-shin-sha,  4528. 

Enkio  san  Hinoye  tora  Ten.     Roku-gatsu  ju-go- 

nichi.     Koka  sandai  no  mago,  Kanaya  tsukuru 

and  Soma  Nakamura,  4192. 
Enouye  Ryosai,  4144,  4146,  4148. 
Ensosha  Shisei,  1249. 

Fubun,  4825. 

Fugetsu,  4743. 

Fuji,  3013,  3015,   3016,  3018,   3020,    3021,   3023, 

3024,  3027,  3094-3096. 
Fuji  fumoto  no  tsuchi  wo  motte  tsukuru  Chiku- 

meido,  1561. 
Fuji-hachi,  414. 
Fujimi  yaki,  3019. 
Fuji  Sanjin,  3025. 
Fukakusa  and  Ichigo,  3948. 
Fukakusa  and  Matsumoto,  3947. 
Fukakusa  and  Shinsai,  3949. 
Fukakusa  and  Udzurayama,  3946. 
Fukakusa  no.     Hana,  3950. 
Fuke,  2723. 

Fuke  kore  wo  tsukuru,  2725. 
Fuke  sei  and  Shochi,  2726. 
Fuke  yaki,  2724. 


Fuku,  1008,  1009,  1016,  1017. 

Fukui  and  Kaseyama,  1332. 

Fukuji,  4855. 

Fukuroyama,  3940. 

Fukuyama,  4577. 

Fumai,  5121. 

Furnace  marks,  conventional  signatures,  etc.,  373, 
375.  385.  404,  477, 478,  525-527,  2679,  2926,  2929, 
2931-2935,  2938-2940,  2946,  2947,  4020-4023, 
4316,  4427,  4458,  4706,  4807. 

Fuya,  1536,  1537. 

Fuzo  tsukuru,  5232. 

Ga  and  Sochiu,  4132. 

Gagi,  4001. 

Gando  [Sanjin  ?^  and  Banko,  1254. 

Gempin  and  kakihan  (fraudulent),  2830-2831. 

Gen,  2821,  4586,  4845. 

Gengen,  3731. 

Gengo,  4438. 

Genjiro,  4158. 

Genko,  1370,  2880,  2881. 

Gen  =  Minamoto,  867-874. 

Gensen  sai,  2882. 

Genshosai  Ho  in,  1892. 

Gioii  (or  Jioji),  3255. 

Gioku  Ho  sei,  4462. 

Giokutei  and  Chojiro,  4729. 

Giokuto,  3751,  4830. 

Gionen  hachi-ju-san  sai  Totoki  Hosho  kore  wo 

tsukuru  and  Ho,  1478. 
Gionen  roku-ju-hachi  sai,  Sojiku  kore  wo  tsukuru 

and  kakihan,  3749. 
Giosotan,  etc.,  4344. 
Giozan,  3224-3227. 
Giozan  and  Kinji,  3228. 
Giozan  tsukuru,  3229. 
Gobosatsu,  3184-3193,  3195,  3196,  5270. 
Gocho,  4860. 

Gohonzan  onaratame,  3626. 
Gojohashi  and  Kitei,  3510. 
Gorosuke  saku,  3577. 
Goshotei  and  Kichibei,  3994. 
Goshu  Seta  Kyoto  Tokishi  Mompei,  742. 
Gountei  saku  and  Toto,  3984. 
Goyo  dokoro  on  dokishi  Sawaragi  Marudayu,  4616. 
Gu  and  San  yo  and  inscription,  2140. 

Hachi,  2727,  5193. 

Hachi-ju-ga,  Raku-6  and  kakihan,  3746. 

Hachi-ju  ga  Sobaitei  Rojin  tsukuru,  2977. 

Hachi-ju-ichi-6  and  Bakesuke,  2601. 

Hachi-ju-6  Sobaitei  Rojin  kore  wo  tsukuru,  2978. 

Hachiyei,  4861. 

Hagiyama  yaki,  2962,  2963,  2966. 

Hagiyama  yaki  (not  figured)  and  [?],  2964. 

Hagiyama    yaki   and    Kinjo-raku.     Tempo   ham 

Senshotei  saku,  2965. 
Haku,  3756. 

Haku  unzan  and  Yuraku,  1521. 
Hakusan,  4731. 
Hanashiki,  2676. 
Hanji,  2593. 
Hanko,  4680. 
Hanko,  2879. 


376 


INDEX  OF  MARKS 


Hanshichi,  4094. 

Hanshichi  and  Imado  Hamatoyo,  4095. 

Hanshichi  Imado  Hamaguri,  5166. 

Harima,  3089. 

Haritsu,  4030. 

Hashidate,  Tango,  4540. 

Hatara,  4626. 

Hayashi,  4486. 

Heian  Chokyu  tsukuru,  3952. 

Heigen,  4185. 

Hiafcu,  2622. 

Hiaku  ju,  3529,  3530.     . 

Hiaku-kiyoku,  3755. 

Hiakusuice,  4849. 

Hideno  and  Banko,  1245. 

Higo,  865. 

Higo  Amidayama  no  toko,  Kansei  nensei,  887. 

Higo  and  Yatsushiro,  5108. 

Higo,  Udo-gori,  Amidayama  sei,  888-890. 

Higo  Yamaga  Matsumoto  Chozo,  907. 

Himiji  ni  oite  Okiaku  sei,  1837. 

Himuro  Awata  Rioundo  sei,  3143. 

Hinoshita  ichi  [Fusa?],  2182. 

Hinoshita  ichi  Kono,  2181. 

Hira,  786-788,  2167. 

Hiraga  and  Shunmin,  2079. 

Hirono,  4283. 

Hiroshima  Yenami  sei,  1943. 

Hitotsu  yaki  and  Tama,  4126. 

Ho,  4730. 

Ho  and  Gionen  hachi-ju-san  sai   Totoki  Hosho 

kore  wo  tsukuru,  1478. 
Ho  and  kakihan,  1479. 
Ho  and  spiral,  1480,  1481,  5096. 
Hogoen  sei,  3615. 
Hohei,  4362-4366. 
Ho-itsu  and  Taka,  2009. 
Hoju,  435S,  4356,  4359-4361. 
Hoka  hachi-ju-shi-6  Tokuzan  saku,  4069. 
Hoka    shichi-ju-hachi-6   Tokuzan     and    kakihan, 

Bunsei  ju-san  Kanoye  tora  shi-gatsu,  ju-hachi 

nichi,  4068. 
Hoki  no  Kami,  4525. 
Hokio  and  Tashiro,  4212. 
Hokio  and  Tashiro  tsukuru,  4213. 
Hokkukai,  Otaru,  Honda  [Tori  ?]  sei,  4551. 
Hoko,  4381,  4382. 
Hokokushi  Kanro,  2825. 
Hoko  sei  in,  4383,  4384. 
Hokusei  Ensosha  Shujin  sei,  1248. 
Hompo,  4150,  41 51. 
Honobono  and  Kado,  1839. 
Honzan,  4732. 
Hora  Saniin,  3435. 

Hpsai  and  Tsuten  Kyo  Sanyo  gaishi  Gi  to,  4733. 
Hoshina  and  Beikoku,  4548,  4549. 
Hoyei,  4367-4374. 
Hoyen,  1773. 
Hoyen  and  crest,  1 776. 
Hoyen  and  Maiko,  1775,  1777,  S103. 
Hoyu,  4379. 

Hozan,  3158-3161,  3163-3176,  5273-5275. 
Hozan,  see  Kuniyama,  4003. 
Hozan  and  Taihei,  3181,  3182. 
Hozan  tsukuru,  3178. 


Hozen,  3854. 

Hozen  tsukuru  and  Kahin  Shiriu,  3857. 

Ichi,  393,  967. 

Ichibei  and  Maiko,  1831, 

Ichigen  tsukuru,  3730. 

Ichigo,  2961. 

Ichigo  and  Fukakusa,  3948. 

Ichi  hiaku,  2649. 

Ichi  jo,  444. 

Ichi-saka  [.']  Shokoen  oite  sei,  3771. 

Ichiyu,  3306,  3307. 

Iga,  1640,  1645-1647,  1649,  1672. 

Iga  and  [?],  1626,  1639. 

Iga  and  Iwa,  1642. 

Iga  and  Ko  [ju  ?],  1657. 

Iga  and  Tosenzan,  5127. 

Iga,  Hosokawa  Masatsugu,  1659. 

Iga  no  kuni  and  Marubashira  mura,  1623. 

Iga  yaki,  1650. 

Ikao  Senka  tsukuru,  1355. 

Ikao  yaki  and  Senka  tsukuru,  1353. 

Ikko,  2868,  2870. 

Ikko  sei,  2869. 

Imado  Hamatoyo  and  Hanshichi,  4095. 

In  Kyuzan,  4552-4554,  4559. 

In  Kyuzan  and  Anshi,  4557. 

In  Kyuzan  and  [Kan  i"],  4555,  4556. 

In  Kyuzan  and  obscure  mark,  4558. 

Inouye  sei  and  Akahada,  1295. 

Inuyama,  2900,  2903,  2904,  2910,  29»i,  2912,  2920, 

2921,  5227. 
Ippei,  4836. 

Ippodo,  3558-3561,  3563-  3564- 
Ippodo  Shichi  jissai  tsukuru,  3562. 
Isawa,  1233-1236,  5139. 
Iwa  and  Iga,  1642. 
Iwa  Koshi,  1552. 

Iwakuni  ni  oite  Jusan-ken  tsukuru,  1406. 
Iwakuni  ni  oite  kore  wo  tsukuru  and  JSsan-ken, 

1398,  1404. 
Iwakuni  sei,  1374,  1375. 
Iwakuni  sei  Chosan  tsukuru,  1394. 
Iwakuni  Tada,  1372,  1373. 
Iwakura,  3149,  3150. 
Iwakurayama,  31 51,  3 1 53-3 1 57,  5278. 
Iwakurayama  Ippo,  3152. 
Iwami  Kuni  Sangai  San  Ka  Nagami  [?]  kore  wo 

tsukuru,  1548. 
Iwao,  1549,  1 551. 
Izumo  Wakayama,  1889. 
Izumo  Wakayama  and  Dai,  1894. 

Ji,  883. 

Jin,  2169,  2170. 

Jinoka  tsukuru  in,  1333. 

Jin  Roku  saku,  see  Sei,  etc. 

Jioji,  see  Gioji. 

Jiraku  sai  Setsu-6  tsukuru  Kotobuki  roku-jii  roku 

and  Setsu-6,  4749. 
Jiu,  1997. 
Jo,  405,  423. 
J6-ichi,  419,  480. 
Jo  jo  dai  kichi,  3614. 
Joshiro,  3964. 


INDEX  OF  MARKS 


377 


)> 


Jota  kore  wo  seisu,  4401. 
Jozan,  1429,  1477,  3959. 
Jozan  Mumei-i  To,  1431. 
Jozan  tsukuru,  3958. 

Ju,  4653- 

Ju  and  Kutani,  1053. 

Juraku,  3742. 

Jusan,  4846. 

Jusan,  605. 

Jusan-ken,  1397,  1399-1403,  1405. 

Jusan-ken  and  Iwakuni  ni  oite  kore  wo  tsukuru, 

1398,  1404. 
Jusendo  Hohei-rojin  tsukuru,  2883. 

Ka,  863,  1992,  3315. 

Kachutei  Dohachi,  3443. 

Kachutei  Dohachi  sei,  3444. 

Kado  and  Honobono,  1839. 

„    .  ,.-,      ( raku     limuro     Tadanobu 

Kaei  gannen   Moka  |  ^^  ^^^^^  Tadayuki  sei. 

Hakusai  Kanhiro  hachi  jissaiga,  1531. 

Kagamichi,  2889. 

Kagura,  3734-3737- 

Kaguraofca,  5314- 

Kahin,  3864. 

Kahin  Shiriu,  3858-3862. 

Kahin  Shiriu  and  Hozen  tsukuru,  3857. 

Kahin  Shiriu  and  Yeiraku,  3855,  3856. 

Ka-ichi,  382. 

Kairaku,  1357, 1358. 

Kairaku  and  Kairakuyen,  1577. 

Kairakuyen,  1578. 

Kairakuyen  and  Kairaku,  1577. 

Kairakuyen  and  Nanki,  161 1. 

Kairakuyen  sei,  1 565-1 576. 

Kairakuyen  sei  and  Raku,  1579. 

Kairakuyen  sei  and  scroll,  1 584. 

Kairakuyen  sei  and  Tempo  ju-ichi  nen  Shocho 
hodo  ye,  1 564. 

Kairakuyen  sei  and  Ya,  1582. 

Kaishu  and  Kyozan,  4182. 

Kakihan,  also  written  Kaki-han.  ("  A  seal  made 
with  a  pen."  Hepburn.)  453.  548,  13' 5.  '337- 
1339.  1436,  1479.  1533.  2663,  2830,  2831,  2957, 
3030,  3194,  3275,  3654,  3697,  3746,  3749,  3752, 
3757,  3836,  3837,  4061.  4062,  4068,  4070,  4084, 
4127,  4179,  4344,  4620,  5172,  5256. 

Kakitsubata,  4535,  4536. 

Kakitsubata  and  Okunisan,  4538,  4539. 

Kaku-ichi,  388. 

Kamamoto  Kimura  Kinko  do,  452. 

Kameyama,  323,  785. 

Karaeyama  and  inscription,  322,  325,  326. 

Kan,  459,  3953,  4636. 

Kan  and  In  Kyuzan,  4556. 

Kan  [?]  and  In  Kyuzan,  4555. 

Kanashige,  4244-4252. 

Kanka,  4726. 

Kan  Kenei  ni  nen  tsukuru  and  Zamakiu  Shimpo 
utsushi  Shiamu  Shosei  sei  and  kakihan,  1 533. 

Kanki-tei,  3992. 

Kanko,  4667. 

Kano,  2587. 

Kanraku,  3739. 

Kanreki  and  Sekiran,  2808. 


Kan-un,  4572. 

Kanriku,  etc.,  2959. 

Kanriu,  2950,  2951. 

Kanzan,  etc.,  3302. 

Karaku  Sanzo,  Shu  [?]  dai,  4181. 

Karamine,  925. 

Kasai,  2899. 

Kasei  nensei,  3622. 

Kaseizan,  4054-4056. 

Kaseyama  and  Fukiu,  1332. 

Kasugi  ?  and  Nishiki,  2077. 

Kasuke,  3312-3314. 

Katei,  3582. 

Katei  and  Mi  ushi  roku-gatsu   Keishi  tsukuru, 

3583- 
Katei  Shichi-ju-shi,  3581. 
Katsu,  858. 

Kawauchi  and  Satsuma,  4437. 
Kayemon,  5218. 
Kazan  ?,  5324. 
Keiben,  4701. 

Ke-ichi  saku  and  Shichi-ju-shi-ichi,  4829. 
Keiden,  etc.,  4416. 
Keien  sei  in,  1214. 
Kei-6  san  unotoshi  ju-ichi-gatsu.     Unyei  kore  wo 

tsukuru  and  Unyei,  1880. 
Keiraku,  2992. 

Keitando  Sekisui  and  Mumei-i,  1433. 
Keito,  4831. 

Keizan  and  Aya  Matsu  ga,  4645. 
Keizan  and  Aya  yaki,  4646. 
Ken,  1991,  3773,  3902-3904,  3908,  5313. 
Ken  and  Kuhei,  391 1. 
Ken  and  Otowa,  3905,  3906. 
Kensai,  3986. 
Kenshin,  2953. 
Kenshin  and  Shun-u,  2745. 
Kenya,  4048,  4049. 
Kenya,  etc.,  4052. 
Kenya  tsukuru,  4047. 
Kenzan,  2901,  2902,  3763-3770.  3776-3779.  378i- 

3783,  4031,  4032,  4037-4043,  531 1. 
Kenzan,  etc.,  4044. 
Kenzan  (spurious  mark),  1592. 
Kenzan  and  Kinkozan,  3207. 
Kenzan  and  Seifu,  3547. 
Kenzan  and  Tok5  Toto,  3784. 
Kenzan,  Hoyei  tsukuru  and  obscure  name,  3780. 
Kenzan  Sho  kaku,  4036. 
Kenzan  Sho  kaku  and  Korin  ga.     Kenzan  Okina, 

4035- 
Kenzan  Sho.     Kenzan,  4033. 
Ki,  1294,  1998-2006,  3495,  3496,  3509,  351 1,  5098, 

5100. 
Ki  and  Akahada,  1293. 
Ki  and  Raku,  3760. 
Kichibei,  3304,  4859. 
Kichibei  and  Goshotei,  3994. 
Kichibei,  see  Senshu. 
Kichi  in,  2130. 
Kichiroku  saku,  4131. 
Kichiyemon,  see  Senshu. 
Kido,  4619. 

Kigetsu  an  and  Akaura,  1761. 
Kiho  tsukuru,  3599,  3600. 


378 


INDEX  OF  MARKS 


Kijo  no  sei,  1600. 

Kikko,  593,594.  1546,  1547,4115,4116,  41 22-41 24. 

Kikko  and  Bokusui-hen  ni  oite  kore  wo  seisu, 

41 19. 
Kikko  and  Bokuta  Toko,  41 17. 
Kikko  and  Toshun  ishoku  nashi,  1396. 
Kikko  tsukuru,  4121. 
Kikunojo  tsukuru,  2688. 
Kikutani,  3885. 

Kikutani  and  Yeiraku,  3882-3884. 
Kimbei,  1435. 
Kimura-uji,  420. 
Kin,  3658,  4840. 
Kinchozan  Tokubei,  3991. 
Kinji  and  Giozan,  3228. 
Kin-jin,  364. 
Kinjo-raku.  Tempo  haru  Senshotei  saku  and  Hagi 

yami  yaki,  2965. 
Kinju,  1 103. 
Kinkei,  1438. 
Kinko,  4164,  5006. 

Kinkozan,  3207-3212,  3215-3222,  5277. 
Kinkozan  and  Kenzan,  3207. 
Kinkozan  and  Otani,  3650. 
Kinoye-ne,  2588. 

Kinrin  Godaibo  and  kakihan,  1436. 
Kinryuzan,  909. 
Kinsei,  3586,  3587,  3590. 
Kio,  1668. 
Kio  Toraku,  3754. 
Kiraku,  3605,  4879. 
Kiraku  tsukuru,  3606. 
Kisaki,  1102. 
Kisen,  4850. 
Kisui,  3517,  3518. 
Kisui  tsukuru,  3519. 
Kitakoji,  897. 

Kitakoji  and  Shodai,  895,  896. 
Kitakoji  and  Shofii,  898. 
Kitani,  1522-1524,  5123. 
Kitei,    3494,    3497-3 502,    3S04-35o8,    35' 2-351 5, 

5290. 
Kitei  and  Gojohashi,  3510. 
Kits,  3516. 
Kiyo,  3264. 

Kiyo,  a  mark  of  Ninsei,  3043. 
Kiyodo,  2996. 

Kiyodo  and  Toyoraku,  2995. 
Kiyohiro,  2594. 

Kiyomizu,  3250,  3251,  3253,  3319,  5306. 
Kiyomizu  and  Shunsai,  3604. 
Kiyomizu  and  Yoso,  3477. 
Kiyomizu  Bairin  zan,  745. 
Kizan,  see  Suma,  etc.,  1830. 
Kizen,  4002. 
Ko,  3031. 
Ko,  2586,  4814. 
K6.?,  3982. 

Ko  and  Bankeian,  3616. 
Kochi  sei,  4000. 
Kochiaten,  1312-1314. 
Kodzu,  857. 
Kohei,  554. 
Koitsu,  2891. 
Koitsudo,  2892. 


Ko  [ju  ?]  and  Iga,  1657. 

Koki  and  Raku,  3692. 

Koki  and  Sliuntai,  5212,  5214. 

Kokikwan  Mokubei,  3805. 

Kokikwan  Mokubei  tsukuru,  3799,  3800. 

K5ko,  3996,  4837. 

Kokwa  ni  nen  Giosotan  Kiyohoku  and  kakihan, 

4344- 
Komaru,  4224. 

Komaru  tsukuru  and  S5ma,  4227. 
Komatsu  kichi,  3303. 
Kono,  2180. 
Konosaku,  2178,  2179. 
Koraku,  4085,  4087,  4090-4093. 
Korakuyen  sei,  4086,  4088,  4089. 
Korakuyen  sei  and  kakihan,  4084. 
Koran  Joshi  tsukuru,  4138. 

Koren  and  Meiji  ju-liachi  nen.     Koren  saku,  4136. 
K6ren-ri  Horaku-ken  kore  wo  tsukuru,  2983. 
Korin  ga,  Kenzan  Okina  and  Kenzan  Sho  Kaku, 

4035- 
Koromogawa,  4844. 
Kosai,  3593-3598,  5318. 
Koshun-do,  4832. 
Kosobe,  566-592. 
Kosobe  and  Tainen,  582. 
Koson,  Mark  of,  4022. 
Kosui,  Kosui  ga  and  [.?],  599. 
Kosuizan,  5319. 

Koto,  760-762,  764-768,  771,  778. 
Koto  and  Meizan,  777. 
Koto  Mokubei  dojin  tsukuru,  3813. 
Koto  sei,  769. 
Koto  Sekisui  sei,  770. 
Koyemon,  etc.,  3942,  3943. 
Koyoshida  and  Tozan,  1836. 
Koyuno  motomeni  ojite.      Kore  wo  tsukuru  and 

Banko,  1136. 
Kozan,  3245,  3608-3612,  4007. 
Kozan,  etc.,  4510. 
Kuchu,  3032,  3033,  5268. 
Kudai  tsukuru  and  kakihan,  3697. 
Kuhei  and  Ken,  391 1. 
Kuhei  and  Otowa,  Ken,  3910. 
Kuho,  4623. 
Kujirimura  Kama   Horeki  Ku  nen  Uno   Shichi- 

gatsu  Kichi  nichi,  1363. 
Ku-ju-ni-6,  Rinso  saku  and  Yashima,  21 16. 
Ku-ju-roku-6  Rinso  tsukuru  and  Yashima,  21 17. 
Ku-ken,  1485. 
Kuniyama  or  Hozan,  4003. 
Kurihara,  3931. 

Kurihara  and  Bandai  lyeko,  3932. 
Kuritani,  3886. 

Kutani,  1022,  1023,  1033,  1035-1050,  1093,  1104. 
Kutani  and  Ju,  1053. 
Kutani  and  Yei,  1096. 
Kutani  and  Yeiraku,  1094. 
Kutani  ni  oite  Yeiraku  tsukuru,  1095. 
Kutani  sei  and  Sosentei  Ichigo  ga,  1062. 
Kuyemon,  2597. 
Kwaisuiyen  sei,  4125. 
Kwan,  3810. 

Kyogoku  Shijio  ju  Miki  Raiki  Toseizan,  3927. 
I  Kyoto  Shorin-an  ni  oite  tsukuru,  3750. 


INDEX  OF  MARKS 


379 


Kyozan,  4183,  4184. 
Kyozan  and  Kaishu,  4182. 
Kyu,  5216. 

Kyukyu  6  and  kakihan,  3960. 
Kyuraku,  3732,  3733,  5297. 
Kyuta,  3310,  331 1. 
Kyuzan  sei,  616,  617. 

Magoku,  2596. 

Maiko,  1778-1781,    1784,    1786-1795.  1797.   1798. 

1800,  1801,  1803-1805,  1807-1811,  1813,  1814. 
Maiko  and  Hoyen,  1775,  1777,  5103. 
Maiko  and  Ichibei,  1831. 
Maiko  and  Sohei,  1817,  1819. 
Maiko  and  Totoken,  1822,  1823. 
Maiko  and  Wafuken,  1771,  1772. 
Makudsu,  497,  3912-3918,4139,  4141,  4640. 
Makudsu  and  Mushiage,  496,  499. 
Makudsu  Kozan,  4140. 
Makusa,  2772-2776. 
Makusa  ?,  2602. 
Man,  456. 
Manshichi,  2925. 
Manzai,  471 1. 

Marubashira  mura  and  Iga  no  kuni,  1623. 
Maru-ichi,  390,  1970. 
Maru-ji,  381. 
Maru-ni,  407,  481. 
Maruoka  Sukenobu  tsukuru,  5312. 
Maru-san,  397, 413. 
Masa,  2958. 

Masa  and  Ohata  Chuzayemon,  2945. 
Masaki,  2954,  2956,  5164,  5219. 
Masaki  and  Icakihan,  2957. 
Masaki  and  Rakurakuyen,  4073. 
Masakichi,  1089. 
Masatomo,  3990. 

Masatomo,  Dai  Nippon  Imbe  to,  446. 
Matsu,  875,  2948,  2949. 
Matsu  and  Tsukuru,  2824. 
Matsuoka,  4757. 

Matsumoto  and  Fukakusa,  3947. 
Matsusaburo  and  Taka,  2019. 
Meiji  hachi  nen  tsukuru,  1246. 
Meiii  ju-hachi  nen  Koren  saku  and  Koren,  4136. 
Meiji  ju-san   nen   Koshin  gatsu  Iwashiro  Hongo 

Tokoshi  Onodera  Kozan  tsukuru,  4510. 
Meiji  Kichu-nen  gentan  Tenrokudo  Kenya,  4052. 
Meizan,  4543. 
Meizan  and  Koto,  777. 
Mihaku  yaki,  4833. 
Mikawa,  Akahiko  tsukuru,  352, 
Miki  konomi,  3926. 
Mikuni  and  Akashi,  1765. 
Mimpei,  1439-1445,  1447-1450. 
Min,  2084,  2096-2099,  5251. 
Min  ?,  2086. 
Minamoto,  see  Gen. 
Minato,  1496,  1501,  1510. 
Minato  Ryoko,  1513. 
Minato  yaki,   1497-1500,   1502,   1503,   1505-1509, 

I5II- 

Mine  and  Banko,  1256. 

Minzan,  2105-2110. 

Mitani  Soshiu,  kakihan  of,  3757. 


Mitsuko,  4574. 

Mi  ushi  roku-gatsu  Keishi  tsukuru  and   Katei, 

3583- 

Miyajima,  Osuna  yaki,  1936. 

Miyajima  sei,  1933,  1935. 

Miyajima  yaki,  1928,  1929,  1931,  1932,  1934. 

Miyajima  yaki  and  crest,  1926,  1927. 

Mizoro  yaki  and  kakihan,  3194. 

Moku,  5091. 

Mokubei,  3785,  3786,  3788-3798,  3804,  3806,  3814. 

Mokuhaku,  1 296-1 299,  1309. 

Mokuhaku  and  Akahada,  1304,  1306-1308. 

Mokuhaku  and  Akahada  yama,  1300- 1 303,  1305, 
1310. 

Moku  moku,  2893,  2894. 

Mokumoku  an  and  Tokusai,  1665. 

Mompei,  740. 

Mompei,  etc.,  5182. 

Mompeizan,  739. 

Mori,  475,  1247. 

Mori  [Ya  ?],  400. 

Moriyoshi,  4531. 

Mosaku,  2177. 

Motte  Antozan  no  tsuchi  Rinzan  kore  wo  tsu- 
kuru, 4843. 

Mugan-raku,  4617. 

Mukogaoka  tsuchi  nite  tsukuru  Hiaku-Kiyoku, 
3748. 

Mumei-i  and  Keitando  Sekisui,  1433. 

Murasakino,  3740,  3741. 

Mushiage,  498,  500. 

Mushiage  and  Makudsu,  496,  499. 

Nagami  Iwao  kore  wo  cho-kokusu,  155a 

Nagarayaraa,  789. 

Nagaye  (or  Hase)  tsuchi  bakari,  1377. 

Nagaya  (or  Hase)  tsuchi  han  to  kore  wo  awase, 

1376. 
Naka,  821. 
Nakusa,  1616. 
Naniwa,  562,  564,  565. 
Naniwa  Hokuensai  Choraku  tsukuru  and   Cho- 

raku,  606. 
Nankai,  4834. 
Nanki,  161 2. 

Nanki  and  Kairakuyen,  161 1. 
Nanki  Otokoyama,  1608-1610. 
Nanzenji  and  Raizan,  3989. 
Naohachi,  2131,  5249. 
Naohachi  (not  given)  and  [?],  2132. 
Naokata,  2897. 

Naosaku,  21 74-2176,  5254,  5255. 
Nara  Dai  Butsu  Ogane,  1261. 
Nari,  4061,  4062. 

Natsume  and  Shichi-ju-go-6,  Ho  tsukuru,  2942. 
Naye,  4501. 

Nennensha  Kiraku  tsukuru,  3607. 
Ni,  5165. 

Nihon  Banko,  1222,  1223. 
Nihon  Banko  Hori  Tomonao  tsukuru,  1253. 
Nihon  Yijsetsu,  1196,  1201. 
Nihon  Yusetsu  and  Banko,  1202,  1203. 
Nihon  Yusetsu  and  Sosho,  1212. 
Niko,  2871-2876. 
Nin-a,  3440. 


38o 


INDEX  OF  MARKS 


Nin-ami,  3439,  3441.  3442,  3445-3448.  34S3.  3454- 

Nin-ami  and  Tozan,  3449,  3450. 

Ningioslii  Koyemon  K6,  3942. 

Ninkei,  4621. 

Ninraku,  5321. 

Ninsei,  3034-3038,  3042.  3044,  3046-3082,  3321, 

4508. 
Ninsei  (imitation),  1872. 
Ninsei  and  Saien,  3887. 
Nippon  Awaji  Sampei,  1451,  1452. 
Nippon  Bunzan  kore  wo  utsusu,  4005. 
Nippon  Kagura-oka  Tokuniu,  3738. 
Nishiki  and  Kasugi  ?,  2077. 
Nobushige,  4824. 
Nobutada,  3999. 
Nobuyuki,  3745. 
Noclii  Asahi,  910. 

Obscure  marks,  320,  1354,  1532,  1706,  1707,  3636, 
4004,  4316,  4346,  4349,  4463,  4485,  4558,  5309. 

Obscure  marks  (Korean),  52,  58. 

Odo,  547. 

Ohata  Chuzayemon  and  Masa,  2945. 

Ohi,  1067-1086. 

Ohi  Kambei  saku,  roku-ju  issai.  Temmei  hachi 
nen  saru  hachi-gatsu  ju-go-nichi,  1065. 

Okamura,  3575. 

Okayama,  493. 

Okei,  757,  758. 

Okiaku  ro,  1838. 

Oki  Horaku,  3003. 

Okina,  4494. 

Oki-uji  sei  Horaku,  3001. 

Okunisan,  4537. 

Okunisan  and  Kakitsubata,  4538,  4539. 

Omuro,  3872-3874,  3893,  5303. 

Omuro  and  Toho,  3892. 

Omuro  and  Ouchi-yama  sei  en,  3870. 

Omuro  Slii  saku  and  Dohachi,  5284. 

Omuroyama  and  Dohachi  (not  given),  3430. 

Omuroyama  shi  saku  and  Dohachi,  3431. 

Onko,  1367,  1368. 

Ono  Zenroku,  1091. 

Otafuku-an,  3928-3930. 

Dtakayama,  2855,  2856. 

Ota  Manjiro  shichi-ju-o  kore  wo  tsukuru  and 
Shizuhata,  1562. 

Otani,  3524,  3525. 

Otani  and  Kinkozan,  3650. 

Otokoyama,  1613. 

Otowa,  3896-3898,  3907. 

Otowa  and  Ken,  3905,  3906. 

Otowa,  Ken  and  Kuhei,  3910. 

Otsu  and  Zen,  4229. 

Otsu  Meisan,  743. 

Otsu  Meisan  and  Yorodsu  tei,  744. 

Ouchi-yama  Hatsu  kama  and  Yeiraku,  3875. 

Ouchi-yama  sei  en,  3871. 

Ouchi-yama  sei  en  and  Omuro,  3870. 

Raizan  and  Nanzenji,  3089. 

Raku,  1064,  1528,  i860,  3663-3666,  3669-3678, 
3680,  3681,   3683-3686,    3688-3691,  3693-3695, 

3698-3710,  4744- 
Raku  and  Kairakuyen  sei,  1579. 


Raku  and  Ki,  3760. 

Raku  and  Koki,  3692. 

Raku  and  Sho,  3687. 

Rakurakuyen,  4076-4081. 

Rakurakuyen  and  Masaki,  4073. 

Rakurakuyen  and  Sobokai,  4072. 

Rakurakuyen  sei,  4074,  4075,  4082,  4083,  5163. 

Raku  Ryosuke,  21 11. 

Raku  sai  and  Shunmin,  2089. 

Rakushi-tei  Kasuke,  3316. 

Rakuto,  2100,  3147. 

Rakuto  ko  Kanzan  tsukuru,  3302. 

Rakutozan,  3239-3242,  5271. 

Rakuzan,  1862,  1864,  4225. 

Rantei,  3934,  3936,  3937. 

Rantei  sen  tsukuru,  3935. 

Rengetsu,  3919,  3921,  3923-3925. 

Rengetsu  and  Ryokozan,  3922. 

Ri  and  So,  2941. 

Rikei,  2979. 

Rikishin,  2583. 

Riku,  421. 

Rinso,  see  Yashima,  etc. 

Rinzan,  1020. 

Rinzan,  etc.,  4843. 

Ritei,  etc.,  5257. 

Riyoniu  tsukuru,  3696. 

Robei  Moku,  3802. 

Robei  tsukuru,  3801. 

Roku,  465,  3317,  3318,  3330. 

Rokubei,  3322,  3331,  3352,  3354,  3360,  3361,  3369, 

3384-3391- 
Roku-ichi,  3320,  3376,  3383. 
Roku-ju-ku,  3000. 

Roku-ju-shichi  o  Tosei  tsukuru,  4812. 
Rozan,  3584,  3585. 
Ryo,  2166. 

Ryokozan  and  Rengetsu,  3922. 
Ryozan  Denkaku  shi,  3983. 
Ryozen,  3838,  3839,  3841,  3842. 
Ryuho,  4385. 

Ryujiu  Kitsuroku  z6,  1351. 
Ryukengo,  3955. 
Ryushi,  1766. 

Saburo,  3761. 

Sada,  3247. 

Sada  ichi,  4575. 

Sada  nao,  441. 

Sado  Jozan,  1430. 

Sado  Kinginzan  Mumei-i  Saku  Sekisui,  1434. 

Sahei,  11 25,  11 26,  3533,  5280. 

Sai,  2162. 

Sai  ?,  876. 

Saien  and  Ninsei,  3887 

Saji,  92^. 

Sakigaki,  4134,  4135. 

Sa  Kin,  1424. 

Sa  Kin  saku,  1421,  1422,  1425. 

Sakurai  no  Sato,  607-612. 

Sakusuke  sei,  2592,  5221, 

Sampei,  etc.,  1451,  1452. 

San-dai  Kenzan  tsukuru.    Shodai  Kenzan  motte 

and  Tempo  nensei,  4044. 
Sangen  and  Sumidagawa,  4102. 


INDEX  OF  MARKS 


381 


Sanko,  4713. 

Sanko,  2877,  2878. 

Sannose,  960. 

Sanrakuyen  sei,  4107-41 12. 

Sansho,  3747. 

San  yo,  2 136-2 139. 

San-yo  and  Gu  with  inscription,  2140. 

Sanyo,  etc.,  4733. 

Sasashima,  3004-3006,  3008-301 1,  5233. 

Sashu  Kinginzan  Mumei-i  wo  motte  tsukuru  and 

Tomitaro,  1432. 
Sashu  Kintaro  saku,  1420,  1426,  1427. 
Satsuma  and  Kawauchi,  4437. 
Satsuma  no  Kuni  Keiden  sei,  4416. 
Satsuma  Seshima  sei,  4498,  4499. 
Satsuma  Tateno  Bunsei  san  nen  ni-gatsu  futsuka, 

4478. 
Satsu  sei,  4496. 
Se  Gon,  5201. 
Sei,  2582,  3039,  3040,  3323-3329.  3333-3351.  3355, 

3357,  3359.  3362,  3368,  3393-  3394,  3396,  3397. 

3400-3412,  4189-4191,  4681,  5142. 
Sei£u,  3541-3543,  3545-3548- 
Seifu  and  Kenzan,  3547- 
Sei,  Jin  Roku  saku.     Bunseki  hitsu,  3358. 
Seiju,  4827,  4828. 
Seikanji,  3084,  3085. 
Seikozan,  4417. 

Seinei  and  crest  of  Tokugawa,  1580,  1581. 
Selniu,  3729,  5301. 
Sei  Roku,  3353,  3356,  3365,  3392. 
Seisai,  2895. 
Seishi,  4142,  4143. 
Seitoken  and  Banko,  1255. 
Seiunzan,  3601-3603. 
Seiwodo,  1906,  3951. 
Seizan,  3579,  3580,  3591,  3592. 
Seki,  3993. 

Sekiran  and  Kanreki,  2808. 
Seki  Shotei  Mompei,  5182. 
Sekitokuyen  sei  and  Banko  Fueki,  1239. 
Sekiyo  Iwayama,  1553. 
Sekizen,  1369,  4006. 
Semba,  3956. 
Sen,  1994-1996. 
Senka  Ikao,  1354. 
Senka  tsukuru  and  Ikao  yaki,  1353. 
Sen  Saku,  518. 

Senshu  Sakai  Hon-Minato  yaki  Kichibei,  1514. 
Senshu  Sakai  Hon-Minato  yaki  Kichiyemon,  1515, 

1 518-1520. 
Senzai-raku,  3744. 
Seshima  sei,  4497. 
Seta  seki  sho,  741. 

Setosuke,  1230,  1232,  1326-1330,  2609. 
Setsu-6,  4750. 
Setsu-6  and  Jiraku  sai  Setsu-o  tsukuru  Kotobuki 

roku-ju  roku,  4749. 
Setsuzan,  975. 
Setsuzan  saku,  976. 
Shazan  tsukuru  and  Banko,  1252. 
Shibata  Dentaro  tsukuru,  366. 
Shichibei,  3398. 
Shichibei  tsukuru,  3399. 
Shichi-ju-go-o,  Ho  tsukuru  and  Natsume,  2942. 


Shichi-iu-go-6  Kanriku  tsukuru,  2959. 

Shichi-ju-6  Sasashima  Bokusai,  3012. 

Shichi-ju-shi-ichi  and  Ke-ichi  saku,  4829. 

Shidoro,  1710,  1717,  1718,  1720-1722,  1724,  1725, 
1 727-1 733,  1735,  1736. 

Shidoro  and  Tetsuji,  1726. 

Shido  Shunmin,  2085,  2092-2095. 

Shiga,  509,  510. 

Shigekata  and  Taka,  201 1,  2012. 

Shigemasa,  5222. 

Shigenori,  2580. 

Shiho  an  Sohen,  3086,  3088. 

Shin,  1669. 

Shinadsuma,  4735. 

Shingetsu  ken,  4514. 

Shin  itsu  sei,  2590. 

Shinkaizan,  5224. 

Shin  Koshinga,  Ryokwan  ni  oite.  Rokubei  tsukuru, 
3332. 

Shinsai  and  Fukakusa,  3949. 

Shinshiroyama,  1344. 

Shinzan,  2112,  2606. 

Shirado,  4731. 

Shirai  Hanshichi,  4153,  5167. 

Shirai  Sakuyemon,  4096. 

Shirai  Seijiro,  4154. 

Shirai  Zenniu,  41 55-41 57. 

Shirakiyo,  2898. 

Shirano,  4731. 

Shizen-an,  4657. 

Shizu,  1558,  1559. 

Shizuhata,  1 554-1 557. 

Shizuhata  and  Ota  ManjirS  Shichi-jii-6  kore  wo 
tsukuru,  1562. 

Shizuhatayama  no  tsuchi  wo  motte  tsukuru,  156a 

Sho  and  Raku,  3687. 

Sho  and  Shunsho,  2766. 

Sho  and  Sobiyo,  4234. 

Shochi  and  Fuke  sei,  2726. 

Shoda,  4221. 

Shodai,  893,  894. 

Shodai  and  Kitakoji,  895,  896. 

Shofu,  899-903. 

Shofu  and  Kitakoji,  898. 

Shofudo,  4235. 

Shohachi  and  Dohachi  (not  given),  3434. 

Shohaku,  365. 

Shohei,  5308. 

Shokoen,  etc.,  3771. 

Shonsui  Gorosuke,  3576. 

Shoreido  no  in,  1092. 

Shosai,  618,  619,  5242. 

Shosendo  Giokurin  tsukuru  and  Banko,  4515. 

Shotei,  1 105. 

Shoto,  361,  362. 

Sho-u,  5320. 

Shozen,  4847. 

Shozo,  2943,  2944. 

Shu,  675,  676. 

Shuhei,  3468-3471,  3473,  5292. 

Shuhei  tsukuru,  3472,  5294. 

Shuji,  5198. 

Shuji,  etc.,  5197. 

Shuji  Roku-gatsu  Shofu  no  Koye  and  other  char- 
acters, 5196. 


382 


INDEX  OF  MARKS 


Shuku-6  tsukuru,  5236. 

Shun,  2064. 

Shunbai,  5210. 

Shun  ichi,  2955. 

Shun  itsu,  2604. 

Shunka,  2603,  5215. 

Shunkei,  2770. 

Shunki,  2767,  2768,  2960. 

Shunko,  2753. 

Shunkozan,  2752. 

Shunkyo,  5209. 

Shunmin,  2087. 

Shunmin  and  Hiraga,  2079. 

Shunmin  and  Raku  sei,  2089. 

Shunrin,  2769,  5207. 

Shunsai  and  Kiyomizu,  3604.  * 

Shunsendo,  2591. 

Shunsho  and  Sho,  2766. 

Shunsui,  2771,  2890. 

Shuntai,  2754-2762,  521 1,  5213. 

Shuntai  and  Koki,  5212,  5214. 

Shuntan,  2746-2751,  5205,  5206. 

Shun-u,  2743,  2744,  5208. 

Shun-u  and  Kenshin,  2745. 

Shunyetsu,  2598. 

Shunzan,  2738-2742,  3987,  3988,  5204. 

Shuzan,  3987,  3988. 

So  and  Ri,  2941. 

Sobaitei,  2976. 

Sobiyo  and  Sho,  4234. 

Sobokai,  2728-2737,  5202. 

Sobokai  and  Rakurakuyen,  4072. 

Sochu  and  Ga,  4132. 

Sogen  and  Yatsushiro,  885. 

Sohei,  1818. 

Sohei  and  Asagiri,  1816. 

Sohei  and  Maiko,  1817,  1819. 

Sohenzan  Ninsei  kore  wo  yaku,  3087. 

Sohin  and  kakihan.     Toshi  roku-ju-san,  3837. 

S5-i,  mark  of,  4021. 

Sokan  tsukuru  and  kakihan,  548. 

Soken  ga  and  kakihan,  3654. 

Sokichi  and  kakihan,  3752. 

Soma,  4230-4232,  4242,  4243,  4253-4280. 

Soma  and  cre^ t,  4233. 

Soma  and  Komaru  tsukuru,  4227. 

Soma  and  Zen,  4236. 

Soma  Nakamura,  and  Enkio  san  Hinoye  tora 
Ten.  Roku-gatsu  ju-go-nichi.  Koka  sandai 
no  mago,  Kanaya  tsukuru,  4192. 

Soniu,  4851. 

Sonshiu  tsukuru,  2888. 

Sosaburo,  3889. 

Sosentei  Ichigo  ga  and  Kutani  sei,  1062. 

Soshichi,  2061-2063. 

Soshichi,  Masaki  Yukihiro  and  Bunsei  Jissai 
Inu  ju-ichi-gatsu,  2060. 

Soshiro,  etc.,  3888,  4053,  5298. 

Sosho,  4512. 

Sosho  and  Nihon  Yusetsu,  121 2. 

Sosho-Unke,  451 1. 

Sozan  ?,  5324. 

Sozen  utsutsu  kore  wo  tsukuru  [nari  ?]  and  kaki- 
han, 3836. 

Suga  Sobei,  3223. 


Sui,  4756. 

Suikotei  tsukuru,  5199. 

Suisetsu,  2967,  2968,  5229. 

Suisetsu  saku  and  Suisetsu,  2969. 

Suizen,  2952. 

Suma,  1825-1828. 

Suma  and  Totoken,  1829. 

Suma  Kisan  sei,  1830. 

Sumidagawa,  4009-4101,  4103-4106. 

Sumidagawa  and  Sangen,  4102. 

Sumidagawa  sei,  4097. 

Sumizome,  3944. 

Suwa  and  Hachi-ju-san,  1356. 

Suyehiroyama,  1345,  1346. 

Taand  [?],  4316. 

Tachibana,  483. 

Tada,  see  Iwakuni. 

Taiga  Sanka  Seifutei  tsukuru,  1366. 

Taihei,  3180,  4758. 

Taihei  and  Hozan,  3181,  3182. 

Taihei  tsukuru,  4163. 

Taihei,  mark  of,  4020. 

Tainen  and  Kosobe,  582. 

Taisa,  3520. 

Taizan,  3197-3206. 

Taizan  ?,  5324. 

Taizan,  etc.,  4490,  5272. 

Taka,  2007,  2008,  2018,  2066-2075,  S243,  5244. 

Taka  and  Arashi  Tanemune,  2015. 

Taka  and  H6-itsu,  2009. 

Taka  and  Matsusaburo,  2019. 

Taka  and  Shigekata,  201 1,  2012. 

Taka  and  Tei  ichi,  2016. 

Taka  and  Yeigen,  2017. 

Takada,  5200. 

Takamitsu,  4854. 

Taka  Teiten,  2013. 

Takatori  Teiten,  2014. 

Takatori  Yo,  1988. 

Taka  Yoshiwa,  2010. 

Tama,  4128,  4129,  4341. 

Tama  and  Hitotsu  yaki,  4126. 

Tama  and  Tamagawa-shisui,  4130. 

Tamagaki  tsukuru,  1229. 

Tamagawa  Sai,  5170. 

Tamagawa-shisui  and  Tama,  4130. 

Tamagawa  yaki  and  kakihan,  4127. 

Tanoshii,  4693. 

Tanzan,  3236-3238,  4639. 

Tashiro  .'',  4207. 

Tashiro  and  Hokio,  4212. 

Tashiro  tsukuru  and  Hokio,  4213. 

Tatsumonji  Hoyu,  4380. 

Tei,  836,  3503. 

Teigai  Chiushu  Taizan  ga  and  kakihan,  4070. 

Tei  ichi  and  Taka,  2016. 

Teiju  san.     Keicho  hachi  nen.    San-gatsu-itsu-ka, 

2826. 
Taizan,  4071. 
Tempi  6  Hoji  [?],  1 794. 
Tempo  Harukawa  Shotei  saku,  see  Kinjo-raku. 

Tempo  haru  Sensho-tei  saku,  2965. 
Tempo  hinoye-saru  haru.     Hakuden-an  kore  wo. 

Konomu  Iwakuni  yama  Kikko  tsukuru,  1395. 


INDEX  OF  MARKS 


383 


Temp5  ju-ichi  nen  Shocho  hodo  ye  and  Kairaku- 

yen  sei,  1 564. 
Tempo  ju-ni-nen  ushi   ku-gatsu  Kichi  nichi  Tai- 

zan,  4490. 
Tempo    nensei    and    San-dai    Kenzan    tsukuru. 

Shodai  Kenzan  motte,  4044. 
Ten,  4697. 

Tenka-ichi  Soshiro,  3888,  4053,  5298. 
Tenroku-do,  4050. 
Tera  ?,  402. 
Terami,  454,  455. 

Terami  Gorobei  saku  and  kakihan,  453. 
Tetsuji  and  Shidoro,  1726. 
To,  859. 
To,  2227. 
Tofukuji-Monzen  Ningioshi   Koyemon    tsukuru, 

3943- 
Togentei,  4544. 
Togiyoku,  3649. 
Tohaku  no  saku,  2867. 
Toho  and  Omuro,  3892. 
T6-i,  416. 

Toin  Rokuzan  saku,  4046. 
Toko,  1061. 

Toko  Toto  and  Kenzan,  3784. 
Tokubei,  etc.,  3991. 
Tokuhin,  1666. 

Tokusai  and  Mokumoku  an,  1665. 
Tokuzan,  4064. 
Tokuzan,  etc.,  4068,  4069. 
Tokuzan  zo,  4067. 
Tomikawa,  2135. 
Tomita,  2101,  2102. 
Toroku-ura,  360. 
Tosa,  3965,  3967,  3968. 
Tosai,  2885,  2974,  2975. 
Tosai,  etc.,  4812. 
Tosen,  3997. 
Tosenyen  sei,  4113. 
Tosenzan  and  Iga,  5127. 
To-shin  kichi,  2887. 
Toshi  Nobushige,  1437. 

Toshi  roku-ju  san  and  Sohin  and  kakihan,  3837. 
Toshun,  2886. 

Toshun  ishoku  nashi  and  Kikko,  1396. 
Toso  tsukuru,  1544. 
Totei,  443,  1670,  1671,  3938,  3939. 
Toto,  3985. 

Toto  and  Gountei  saku,  3984. 
Totoken,  1820,  1821. 
Totoken  and  Maiko,  1822,  1823. 
Totoken  and  Suma,  1829. 
Totomi  marks,  undecipherable,  1706,  1707. 
To  Wakichi,  2854. 
Towo,  4624. 
Toyen,  3565. 
Toy  en  tsukuru,  3566. 
Toyo,  2981. 
Toyo  ?,  884. 

Toyohachi,  2980,  2982,  2988. 
Toyoraku,  2984,  2997. 
Toyoraku  and  Kiyodo,  2995. 
Toyotsune,  2600. 
Toyosuke,  2985-2987,  2991,  2999. 
Toyushi  kore  wo  tsukuru,  4746. 


Tozan,  1833-1835,  3451,  3651. 

Tozan  and  Koyoshida,  1836. 

Tozan  and  Nin-ami,  3449,  3450. 

Tozen,  2863. 

Tsuchinoto  u  natsu  no  hi  Shuji  itsu  jin  kore  wo 

tsukuru,  5197. 
Tsujii  Harima,  3090-3093. 
Tsukuru  and  Matsu,  2824. 
Tsuno,  4803. 

Tsuna  and  Akahada,  1266. 
Tsuru,  1407. 

Tsuten  Kyo  SanyS  gaishi  Gi  to  and  Hosai,  4733. 
Tsuyen,  3549-3SS3.  3SS6,  3SS7- 

Ubagamochi,  781-783. 
Udzurayama,  3945. 
Udzurayama  and  Fukakusa,  3946. 
Uho,  1364,  1365. 
Uji,  4008. 

Uii  and  Beizan,  620. 
Ukaku  tsukuru,  4160. 
Uma,  2581. 
Uni,  4722. 
Unyei,  1881,  5120. 

Unyei  and  Kei-6  san  unotoshi  ju-ichi-gatsu.     Un- 
yei kore  wo  tsukuru,  1880. 
Unzen,  1851,  1852,  1856,  1888. 
Utatsu,  4686. 

Wafuken  and  Maiko,  1771,  1772. 
Wakasugi,  3652. 

Ya,  881,  1583,3759- 

Ya  and  Kairakuyen  sei,  1582. 

Yagayemon,  386. 

Yakitora,  791-793. 

Yama,  474,  908. 

Yamada,  3098,  4228. 

Yamagata  ken,  4547. 

Yamagawa,  4419. 

Yamaguchi,  2608. 

Yamahara  tsukuru,  4500. 

Yama-j6,  410. 

Yama  Ka,  1993. 

Yamake,  3097. 

Yama-maru,  424.  * 

Yamamoto,  1090. 

Yamanoi,  4838. 

Yamato?,  1325. 

Yanagawa,  1341,  1342. 

Ya  no  Kashiu  Sano  Shomatsu-mura  Koseibaku- 

tei    nite   Yoshu    Kenzan-toin    Shinsei    tsukuru 

Kichiroku  kore  wo  bosu,  1350. 
Yasan,  555. 

Yashima,  21 13-21 15,  2120-2122,  5247. 
Yashima  and  Ku-iu-ni-o,  Rinso  saku,  21 16. 
Yashima  and  Ku-ju-roku-6,  Rinso  tsukuru,  21 17. 
Yashima  Ku-ju-hachi-o  Rinso  dan  Shichi-ju-ichi, 

Rinso  tsukuru,  21 19. 
Yashima  Rinso,  21 18. 

Yashima  Rinso  hachi-ju-hachi  o  saku,  5248. 
Yatsuhashi  tsukuru,  4530. 
Yatsushiro,  891. 
Yatsushiro  and  Higo,  5108. 
Yatsushiro  and  Sogen,  885. 


384 


INDEX  OF  MARKS 


Yei,  401. 

Yei  and  Kutani,  1096. 

Yeigen  and  Taka,  2017. 

Yeiraku,  1097-11 01,  3843,  3844.3847-3853,3863, 

3865-3869,  3876,  3877,  3879. 
Yeiraku  and  Kahin  Shiriu,  3855,  3856. 
Yeiraku  and  Kikutani,  3882-3884. 
Yeiraku  and  Kutani,  1094. 
Yeiraku  and  Ouchi-yama  Hatsu  kama,  3875. 
Yeiraku  tsukuru,  3880. 
Yeiroku  san  nen  Kiku-gatsu  tsukuru,  5231. 
Yeisen,  3308. 
Yeishin,  3395. 

Yenami,  see  Hiroshima,  etc. 
Yd,  1990. 

Yohachi,  2123,  21 25-21 29. 
Yohachi  and  Bunsei  nensai,  5245. 
Yoki,  4678. 
Yokuro,  3890,  3801 . 
Yorodsu  tei  and  Otsu  Meisan,  744. 
Yoshi,  4684. 
Yoshimitsu,  see  Hoko. 
Yoshimura,  380. 
Yoshitoyo,  2970-2973. 
Yo  she,  5159. 
Yoshu  Matsuyama,  1343. 
Yoshun-en,  4748. 


Yoso,  3475,  3478,  3480-3486,  3489,  3490,  5295. 

Yoso  and  Kiyomizu,  3477. 

Yoso  tsukuru,  3474,  3476,  3479,  3487,  3488. 

Yotsune,  389. 

Yuchiku,  4813. 

Yugai  kore  wo  tsukuru,  3995. 

Yukichiruya,  1542. 

Yuko,  794-796. 

Yuraku  and  Haku  unzan,  1521. 

Yusetsu,    1195,    1198,    1205,    1206,    1208,    1213, 

5136. 
Yusetsu  and  Banko,  1207. 
Yutokusai,  3962. 
Yuzan,  3243,  3244. 

Zamakiu  Shimpo  utsushi  Shiamu  Shosei  sei  and 

kakihan  and  Kan  Kenei  ni  nen  tsukuru,  1533. 
Zen,  1853-1855,  1886,  1887,  4643. 
Zen  ?,  4226. 
Zen  and  Otsu,  4229. 
Zen  and  Soma,  4236. 
Zen  kyu,  4605. 
Zenshun,  4281,  4282. 
Zo  ichi,  3256. 

Zoroku,  3521-3523,  3526-3528,  3532,  3534-354°- 
Zui  sei  ?  and  kakifian,  5256. 
Zuishi,  1585-1 59».  '593-1 598.  l^S^' 


PLATE   I 


1 80 
Karatsu 


Province  of  Hizen 


179 


243 


181 


Karatsu         Karatsu      Karatsu 


252 
Karatsu 


315 
Goroshichi 


Province  of  Hizen 

197 

Karatsu 


206 
Karatsu 


^^1 


^-^^^ 


Or=    THE  \^ 


_'-U-«'^»  ^ 


y 


PLATE   II 


Province  of  Bizen 

404  372  38s 

Imbe  Imbe  Imbe 


Province  of  Tosa 

544  545  530 

Odo  Odo  Shohaku 


PLATE   III 


512 
Yaheda 


Province  of  Tsushima 

508 

Shiga 


SO9 

Shiga 


Province  of  Settsu 


582 
Kosobe 


563 


593 


616 


610 


Naniwa  Kikko  Kyuzan    Sakurai  no  Sato 


PLATE   IV 


Province  of  Omi 


631 

747 

Shigaraki 

Bairin 

781 

787 

711 

Ubagamochi 

Hira 

Zeze 

Province  of  Higo 


835 

799 

814 

836 

902 

Koda 

Higo 

Koda 

Koda 

Shofu 

PLATE   V 


984 
Fukagawa 


Province  of  Nagato 

975 
Setsuzan 


977 

Michisuke 


1061 


Rendaiji 


Province  of  Kaga 


1067  1068  1070 


Ohi 


Ohi  Ohi 


1016 


Kutani 


O^    THt  \. 

UNlVL...SrfY   j) 


PLATE  VI 


Province  of  Ise 


1 108 

Anto 

II38 

1 142 

"39 

"34 

Banko 

Banko 

Banko 

Banko 

1208 

Yusetsu 


Province  of  Ise 

1127 
Banko 

1221 
Fueki  Banko 


1235 
Isawa 


>-  % 


Of     xt  \l 

aVL.-.SJTYj 


PLATE   VII 


Province  of  Echizen 

1326  1330  1327 

Setosuke  Setosuke  Setosuke 


Provinces  of  Awaji,  Mino  and  Hidachi 

1439  1363  1357 

Mimpei  Kujiri  Kairaku 


VJNJVfc.SJTY 


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1 668 


PLATE   XIII 


Province  of 

Kir 

1564 

1567 

1588 

Kairakuyen 

Kairakuyen 

Meppotani 

Province  of  Iga 
1676  1640  1658  1665 


Shinjiro  Iga  Marubashira        Marubashira     Tokusai 


'o 


PLATE   XIV 


Province  of  Totomi 


1738 


Shidoro 


1708  171 1 


1710 


Shidoro      Shidoro  Shidoro 


1734 


Shidoro 


1766 
Ryijshi 


Province  of  Harima 
1760 
Akashi 


1778 
Maiko 


■w^ 


<a  »  y  ~ 


PLATE  XV 


Province  of  Izumo 

i8S3 

Zenshiro 

1875  1850  1864 

Fujina  Zenshiro  Rakuzan 


Province  of  Chikuzen 

1989  1988 

Takatori  Takatori 

2001  1971  1967 

Takatori  Takatori  Takatori 


t".-cai!J[ii.i>*--  '"i"  ;T'.'(S."rs~ 


"t**!*-    r*--ufe- 


PLATE   XVI 


2106 
Minzan 


Province  of  Sanuki  '■• 

2092 
Shido 

2123  2117  2138 

Yahachi  Yashima  Sanuki 


2131 
Naohachi 


2158 
Tachikui 


Province  of  Tamba 

2175  2215  2163  2157 

Naosaku      Tamba         Tachikui  Tachikui 


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vo 

N 


VO 

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b 
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U 

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u 

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0 

rt 

3 

C 

en 

CA 

S 

J 

S 

0 

-a 

en 

1) 

0 

& 

10       ^ 


PLATE   XVIII 


2656 
Shino 


Province  of  Owari 

261 1 

2624 

Shino 


2618 
Shino 


2768 

Shunki 


Province  of  Owari 
2744 
Shun-u 


2741 
Shunzan 


i 


PLATE   XIX 


2821 

Gempin 


Province  of  Owari 
2778 
Ki-Seto 


2822 
Gempin 


Province  of  Owari 


3005 

3022 

Sasashima 

Fujimi 

2966 

2955 

2982 

Hagiyama 

Masaki 

Toyosuke 

i 


PLATE   XX 


Province  of  Yamashiro 


3101 

Awata 

3232 

3148 

3176 

3100 

3236 

Bizan 

Iwakurayama 

Hozan 

Awata 

Tanzan 

3324 

Rokubei 


Province  of  Yamashiro 

3494 
Kitei,  1='  Gen. 


3475 
Yosobei 


3478  3501  3401 

Yosobei    Kitei,  3''''  Gen.     Shichibei 


^u:j&'ti 


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4 


. PLATE   XXI 


3413 
DShachi,  1='  Gen. 


Province  of  Yamashiro 

3435 
Dohachi,  2°^  Gen. 

3453 
Dohachi,  2'"^  Gen. 


3415 
Dohachi,  i"'  Gen. 


Province  of  Yamashiro 


3765 

Kenzan 

3800 

3799                        3305 

3766 

Mokubei 

Mokubei                  Kichibei 

Kenzan 

BK. 


PLATE   XXII 


Province  of  Yamashiro 


3836 

S5zen 

- 

3843 

3865 

3891 

3845 

Hozen 
(Yeiraku) 

Wagen 

Yokuro 

Hozen 
(Yeiraku) 

Province  of  Yamashiro 

3687  3683  3682 

Riy5niu  Riyoniu  Riyoniu 


PLATE   XXIII 


Province  of  Yamashiro 


3898 

Otowa 

3040 

3039 

303; 

3034 

Ninsei 

Ninsei 

Ninsei 

Ninsei 

Province  of  Yamashiro 


4016 

4017 

Sohaku 

Shoi 

3033 

402 I                4022 

4020 

3815 

Takagamine 

So-i                Koson 

Taihei 

Asahi 

PLATE   XXIV 


Province  of  Musashi 

4072 

Rakurakuyen 


PLATE   XXV 


Province  of   Musashi 


4035 

Kenzan 

4047 

4064 

4061 

Kenya 

Tokuzan 

Mizuni 

4086 


4126 


Kor^kuyen    Tamagawa 


Province  of  Iwaki 


4191 
Seijiyemon 


4193 

Soma 

4194 

4224 

4222 

Soma 

Komaru 

Nakamura 

UNIVL..SITY 


PLATE   XXVI 


Province  of  Satsuma 


4315                  4309 

4313 

Satsuma           Satsuma 

Satsuma 

4364 

4352 

4338 

4337 

Hohei 

Hoju 

Sunkoroku 

Sunkoroku 

4305 

Satsuma 


Province  of  Satsuma 

4332  4336 

Tsuboya  Tsuboya 


w 


PLATE   XXVII 


Province  of  Satsuma 


4368 

Hoyei 

4404 

4437 

4395 

4412 

4399 

Mishima 

Betsukafu 

Mishima 

Samd 

Mishima 

Province  of  Satsuma 


4442 

White  Satsuma 

4457 

4452 

Nishiki-de 

Nishiki-de 

4489  4453 

White  Satsuma     Nihiki-de 
(blue  decoration) 


s-;:<5»ai  ■sr^rmsfs^:^?- 


PLATE   XXVIII 


Province  of  Musashi  ? 

4645  4'^' 

-^  .  Keizan 

Keizan 


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Cambridge,  Mass.,  U.  S.  A. 

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Boston,  Mass.,  U.S.  A. 


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